Los Altercocker Rockers: *Chicago State of Mind*


1. Same to Me (It’s all the) w/ Grankspoine 04:03
2. The Lysol Man 03:12
3. R.F.A. w/ Grankspoine 03:59
4. My Best Guess 04:11
5. Closing Time (Right around) 08:08
6. Better Days (I seen) 03:50
7. Bomp Bomp Hoo 03:42
8. Chicago State of Mind 05:00
9. What Do the Women 03:55
10. Sompin’ Fast 05:36

We drink good beer and sometimes whiskey and we jam and then edit and overdub with wine or gin (olives & onyums) with what we also mix and masturd. And coffee (with whiskey).
released February 9, 2018

Drums: Jimmy the C.
Guitars (BV’s on 9): Tommy the S.
Bass, Vox (Gtrs on 5, 7, 10): Mickey the V.
Keys, Gtrs, Horns (1, 3): Nicky the M. (UK)

Writ, recorded, overdubbed, mixt, masturd at Fetacentral Recording, DDL
Fartwerk by Jose Jones
c. ’18

Dedicated to the memories of Greg Allman, Chuck Berry, Leonard Cohen, Chris Cornell, Pat Dinizio, Tom Petty and Prince. We hope you hear a little bit of all of ’em in this.

I mix with olive juice.

Re Jazzmasters and Jizzmisters

Over at Lost Overture a friend really hates the Jazzmaster trend, and was beeyotchin’ about them when I used this link


I responded, thus:

This singer is playing a Bass VI, of course.

But lemme tellya why I like my Revelation RTF60 Jizzmister.

Jizzmisters are easy to play, the shape is ergonomic and they feel big but light.

My fave part is that the P-90’s are a bright and not-hefty single-coil sound, a little thinner even than some Strat-types.

I do not like Strats, never did.

I love my G&L F-100’s, but they are a solid and professional guitar; mine are vintage and somewhat valuable.

My Fernandes Strat-type Sustainer models are their own thing, and mostly exist – for me – for the sustainer circuit, (tho’ they certainly don’t have to – great guitars – and I like my Fernandes bass, also.)

I love my Tele and Tele-types.

The Jizzmister is like a Strat-ifried Tele in some ways, but sounds and feels just different enough – I would say, “looser” – than a Tele or Strat that it is inspiring in its difference.

like fighting my guitars to get my leads out; it makes me slow down, it makes me use pedals and my amps with more attention to settings and touch.

Plus, me, I kinda look for a Thurston Moore/J. Mascis/Dream Syndicate vibe.

Re: Tube rolling 2018

Inna TOMB thread I wrote:

I own a few (Ok, under 10) tube amps.
I bought a bias meter, have read how to do it, seen the vids.

In the past, I accidentally took 120v. futzing with a amp – reached back in immediately and did it again. :shock: Not uncommon, I’m told.

Anywhat, I’ve never biased an amp, some of what I’ve been playing since the 80’s.
I change tubes only as needed – which for me means when they burn up or break.

Now, I’m not a road dog, firing up for a gig every night.
My amps might be on for 3-4 hours for a cuppla nights a month, max.
Some get played a half-hour, 1x a month or every other, even.

Truth be told, I had to re-cap and change a tranny inna ’60 Rick M8E.
Otherwise the only repairs are the usual maintenance shite like pots and switches.
I did put fans in a couple of the hotter amps.

I do buy matched power tubes on the theory that they are a little more stable – they are matched to each other, but not biased for, altho’ I tend to stick with Groove tubes or JJ’s.

All sound good.

I also like 12AT7’s or even AY’s instead of 12AX7’s in my Tiny Terror and Pro,Jr – cleans ’em up some, gives more headroom. (AU’s are too quiet, but good in recording preamps and mics.) New, I’ll usually get JJ’s, but I like to buy used old tubes, particularly GE’s. I think in 30+ years of playing tube amps, I’ve burned up 3 or 4 pre-amp tubes, altho’ I have broken a few more.

I seem to burn up a power tube or 2 a year (I have 6L6’s, EL34’s, and EL84’s in my various amps.)

I mix with olive juice.

EHX Slammi Polyphonic Pitch Shifter

At reverb.com I said,

Interesting idear

Not too far different from a other pitch-shifting whammies in concept, uses dials to set up which you can’t really do on the fly, and requires a bit of a “touch” to use with full potential. IOW, if you wanna get yer Morello on, you need to spend time with it. For me, it’s a useful noise-making variation for the odd – very odd – solo. 4/5

The Situation

Marc Sorrentino, left, and Mike "The Situation" Sorrentino, right, at a nightclub in Las Vegas on Feb. 14, 2012. (David Becker via Getty Images)
Marc Sorrentino, left, and Mike “The Situation” Sorrentino, right, at a nightclub in Las Vegas on Feb. 14, 2012.
In 2010 I wrote a song about this clown and recorded it:

The Situation

from THD in 24 by The Hungry Drunx

The Situation
c. ’10 The Hungry Drunx

Don’t tell me about the investigation
You ain’t wanna know this frustration
Ain’t no need to cry

Don’t be exhibiting youur elation
Keep it on the reservation
Ain’t no need to cry

This is the situation


from THD in 24, released September 18, 2010
Drums: SNARL
Bass: P-Marshall-Ribbon-ARTtps
Gtrs: Red Fernandes-Marshall-Ribbon-VTB1
Vox, Tambo: AT4040


all rights reserved
His story is here (remove the *):

Why more than one bass?

from a discussion at talkbass.com, I answered:


I record much more than I play gigs, so I have a number of basses for different sounds.
Wrapped strings, flats, rounds, active EQ, “low”-guitar tuning, acoustic/electric, fretless electric, fretless acoustic/electric, slide set-up, single-coils vs. humbuckers vs. piezo/mic’d and P vs. J … they all sound different, and make me play a little different.

Secret weapon

Asked “what’s yer secret weapon” at talkbass.com, I answered:

Live: my energy, timing and not fearing to look foolish
Recording: fretboard and theory knowledge/creativity
Gear: headless basses and Dunlop .73mm nylons, and a truckload of pedals; fretless; “low” guitar
Double-secret probation secret: if he’s good, play to the drummer’s hi-hat