1980 Yamaha BB800 Electric Bass Review

Aloha!

Sometimes basses just pop up when you least expect them too, and you have to act quick or miss out on the deal and wonder how you let it slip through your fingers. The 1980 Yamaha BB800 we are looking at today is one of these deals, and it was certainly worth the money.

My son and I frequent the monthly local antique flea market, and it is pretty hit-and-miss as far as what sort of musical instruments you will find there. I have gotten lucky there before, having found some cool effect pedals and a sweet vintage Acoustic 260 amp for short money. But, mostly there are souvenir ukuleles, beat-to-death classical guitars with stickers all over them, and one or two sellers that have a Martin or Fender that is so expensive that it must have been played by Eric Clapton at some point.

So, this BB800 stopped me in my tracks when I saw it laying on the ground in its original Yamaha hard case. I knew from past experience that these are generally very good instruments, and this one checked all of the boxes for me. I picked it up to look it over and it was not super-heavy, and the condition was quite remarkable: no stickers, scratches, dings, or fret wear – amazing for a 35-year old bass. But even more cool was that it was completely original with none of the expected modifications that were performed back then. So, there is no brass nut, no Badass bridge, no goofy tuners, and no Dimarzio pickup. It even had a brand new set of flats on it.

I asked the seller what he wanted for it, and right off he quoted a price that was around half of what it was worth. I must have been stunned into stupidity, because I mutter thanks and wandered off to check out the rest of the swap meet. About a half hour later we were ready to leave, and I had to see if the bass was still there, and sure enough it was so I paid up and we made a quick getaway before he changed his mind. Of course, I ran into a killer Teisco on the way out (also for a good price), but my funds were gone. Figures.

The BB (Broad Bass) instruments were produced by Yamaha in Japan by Yamaha, and there were a bunch of different models (BB200, BB300, BB500, BB800, BB1000, BB1200, and BB2000). The higher the numbers, the more expensive they were, as the number indicates the price in Yen. So, a BB800 was originally 80,000 Yen, or around $327 at the time (at 244 Yen to the dollar).

The BB800 basses were built only from 1978 to 1981, and they are an unabashed knock-off of the Precision Bass knock-off, with just enough things changed to keep Yamaha from getting sued by Fender. This means you can expect a double-cutaway alder body with a bolt on maple neck and alder fretboard. There are 21 frets on that neck, and it is capped off with large-base open-gear Gotoh tuners with cast heads. There is a super-meaty bridge at the other end, and it is a cool piece with flowers engraved in it and two extra screws at the bottom corners to keep it from lifting from the body (a problem with the initial production run).

There are a few differences from their Fender brethren, aside from that cool bridge and the Gotoh tuners. There is a uniquely shaped 3-ply BWB pickguard (kind of ugly, actually), a cool truss rod cover at the heel of the neck, and volume/tone speed knobs with pointers. And then there is the way they reversed the coils on the pickup so that the one for the higher strings is closer to the neck and the portion for the lower strings is closer to the bridge. I have always thought this was the proper way for these to be set-up as it gives more balanced tone across all strings, but apparently Leo Fender did not think that was the best way to do it.

Thanks to its nearly time-capsule condition, all these years later we can still have an appreciation for what a great job the craftsmen in Japan did of putting this thing together. The black poly finish is even, the neck pocket is tight, and the frets are still level and pretty. This is particularly significant because 1980 was right around when Fender’s quality hit absolute rock bottom, so this was a powerful challenge to their authority.

If you strap this bass on and plug it in, you will find that it is pretty much a really good Precision Bass. It has the feel and the sound down, so this Yamaha would be perfect for blues or rock. It has a P-width nut and a nice beefy neck, which fits in with the slightly hefty weight of this thing: 10 pounds, 10 ounces.

This Yamaha BB800 bass does not really fit in with my collection or with the paucity of playing time that I am getting nowadays, so I will probably be flipping it soon. Hit me up if you are interested, I am sure we can make a deal…

Mahalo!

ESP Standard Series Phoenix II B Electric Bass Review

Hi there!

Today we are looking at the ESP Standard Series Phoenix II B bass guitar, which is their take on the Gibson Thunderbird. There were sold from 2009 through 2012 with little success in the US market, though their cheaper LTD version seems to still be doing pretty well. I recently had the chance to pick up a few of these for short money, and cold not resist, as they are really wonderful instruments. Let’s see what we have here!

For starters, this is a real live ESP bass, not an LTD model that was made by craftsmen in Japan, not by little kids in some third world country. And every ESP bass (or guitar) I’ve had has been a great player with no cosmetic or functional flaws.

And the Phoenix is no exception: this is a super smooth-playing neck-through bass, and the build quality is first rate. The neck is spot on, with perfect fretwork, and a great action is attainable with a minimum of fussing around. The black finish (2-tone burst was also available) is deep and gorgeous, though the white pick-guard is a bit too much of a visual contrast for me.

The body is mahogany, and with a modified reverse Thunderbird shape. As I said it is neck-through, and the 34-inch scale maple neck has a bound ebony fretboard. The neck has a thin-U profile with 21 extra-jumbo frets and a 40mm (1 9/16-inch) bone nut. I like the inlays, especially the ESP inlay at the 12th fret, which hearkens back to the ESP 400 models that really made a name for the company.

The hardware is excellent, with a custom high-mass bridge and large-base cloverleaf tuners. Like I said, the white pickguard does not do much for me, but it is a quality multi-ply piece.

The electronics are first-rate, as ESP sourced a pair of EMG 35DC ceramic magnet pickups that are powered by a single 9-volt battery that is hidden by the coolest battery box design that I have ever seen. The wiring and joints are very neat, and the cavity is nicely coated. The controls are two volume pots and a master tone control.

The bass plays wonderfully and sound amazing, and can everything from jazz to blues to rock to metal which only minor adjustments of the knobs and your playing style. It balances much better on a strap than any Gibson I have ever played, which might be due to the 11 pounds of fine hardwoods they crammed into this package.

These basses shipped in a black ESP deluxe tolex hardshell case, which is to be expected at this price point. And that price is probably what killed this bass in our market. As you may know, the dollar was really weak around the time these were being built, and ESP needed a lot more dollars to make the same amount of Yen. The list price for the ESP Phoenix II bass was a nut-shrinking $2750, with a street price of $1900. That was Sadowsky Metro series money, so you can see why ESP had a lot of trouble moving these.

Anyway, they are great basses that are as rare as hen’s teeth, so if you see one make sure you get a chance to try it out. You might just like what you hear!

Mahalo!

Blues Blast Magazine Album Review: The Fried Okra Band – There’s a World Outside My Door

Good day!

This CD review was originally published in the March 6, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Fried Okra Band – There’s a World Outside My Door

Self Release

www.friedokraband.dk

12 tracks / 43:11

Though the genre got its start in the states, there is certainly no shortage of solid blues albums coming from all corners of the globe, and you will find that The Fried Okra Band out of Europe definitely cuts the mustard with their new release, There’s a World Outside My Door!

The Fried Okra Band is based out of Copenhagen, Denmark, and they have been honing their craft since 2003 by playing shows around Denmark and Finland, as well as taking up residency at the Mojo Blues Bar in Copenhagen. There’s a World Outside My Door is their third release, and their second of all original material. Morten Lunn wrote all 12 of the songs and provides vocals, guitar, and diddley bo for this album. Other members of the band include Thomas Foldberg on guitar and harmonica, Thomas Crawford on drums, percussion and mandolin and Henrik Silver on sousaphone and piano.

This self-produced CD was recorded and mixed by Crawford and Foldberg at locations around Denmark, and these two gentlemen were able to capture the essence of the band, which can be smooth and ethereal or raw and gritty. The band calls it “Northern Flat Land Blues” and they get this unique sound by eschewing the bass and focusing on vocals, two guitars and drums, with a few instruments used as needed to fine-tune their tone.

The listener gets a taste of this right from the first track, “Chicago Stage.” This song has the blues sound and lyrics down, but uses a spooky syncopated guitar ostinato to set the mood and the overall product is more laid-back vibe than most band would have the guts to kick off their album with. It works in this case, drawing the listener into the lyrics which are quite visual as they paint a picture of the pride that only a lead singer can have. It should be pointed out that though these guys are Danish they have worked extensively with the words of their songs so that there are just a few awkward half-English phrases that are well-masked by the poetic structure of the lyrics. Also, Morten sings with a light hill country twang, so there is no hint that these guys are from overseas.

The diddley bo is featured on “One String Love” a song that captures the southern roots sound perfectly. Thee unique sound of this single-string instrument is overlaid with mandolin, guitars and only the barest amount of percussion. Foldberg contributes a sweet harmonica break midway through, and his smooth technique works well with Lunn’s subdued vocals.

It is hard to think of another blues band that uses a sousaphone in its backline, and it is surprising to hear the instrument featured on the introduction to “I Tried.” This is not polka-style tuba, as Mr. Silver uses it to take on the role of the bass guitar, and his round tone adds a texture that is not found in harder-rocking blues like this. He meshes well with Crawford’s drums resulting in a rock-solid rhythm section. The lyrics of this track are simple but effective: “I don’t know just who to blame / But I believe in sharing the blame…”

The standout track from this CD is “Fake Rag Okra,” which is a straight-forward roots track with catchy lyrics. Lunn’s voice is in fine form here, and his words cleverly describe the feelings of a man who has been distracted from doing the right things. This song epitomizes The Fried Okra Band’s sound, and the mixture of clean and distorted guitars, mandolin, tuba, and unconventional percussive elements all contribute to their unique “Northern Flatland Blues.”

The band’s songs are not limited to usual blues subjects of failed relationships and problems with the bottle. They examine growing older in one’s hometown (“Shopkeeper”), and dive into the deep end of the fantasy pool with “Copenhagen Coppola.” This descriptive dream sequence is set against a sparse backdrop of a few spooky guitars and synths that is punctuated by a single harmonica riff at the very end. This is a powerful tune, and is a fitting way to bring the album to a close.

With There’s a World Outside My Door, The Fried Okra Band has set the bar high by writing a dozen solid original songs and recording them with a sound that is all their own. This CD is a keeper, and if they maintain this momentum their fourth release should be astounding!

Mahalo!

Ernie Ball Hybrid Slinky Bass Strings .045 to .105 Review

Hello!

I recently picked up an ESP Phoenix 4-string bass that was stone-cold gorgeous, but sounded deader than Sherriff Block despite its stout active EMG setup. I fussed with the control on the bass and the EQ on my amp, but nothing was making it sound like I knew it could. Though the strings on it looked shiny and good, they were an unknown factor and I hoped they might be the cause. So, I swapped on a new set of my go-to strings and voilá! It was as right as rain! These strings are the Ernie Ball Power Slinky bass string set, model number 2833.

If you have not been living in a cave for the past 50 years, you have heard of Ernie Ball strings. Mr. Ball was an innovator that came up with the idea of mass-marketing custom gauge strings and he built the business into one of the biggest string manufacturers in the word. That is what happens when you listen to your customers and give them what they need. His son and grandsons now run the company, and the strings are made right here in the US by people that earn a living wage. A few years ago I had the opportunity to tour the factory (near Palm Springs) and it is an impressive organization.

These long-scale Hybrid Slinky strings are right about the same as their regular Slinky set with the top two string just a bee’s dick smaller, measuring 0.045, 0.065, 0.085 and 0.105. Woot! They are roundwound with nickel-plated steel wrap around a tin-plated hex profile steel core. There is no coating or cobalt going on here, just straight-up strings. Ernie Ball strings still come in individual paper envelopes, but now they are sealed in airtight foil packets. I much prefer this packaging so I know I am going to get fresh strings. You never know how long strings have been sitting around at the store...

Anyway, for the ESP bass I eagerly tore open my new foil pack of Hybrid Slinkys, trimmed them to length and used my Ernie Ball Powerpeg string winder to cinch them up. They filled the nut slots perfectly, and after a bit of fussing with the truss rod I got the action to a reasonable height. After a bit of playing it was apparent that this was a good move as it played just fine with plenty of bite, and the lighter top strings gave me a bit more mobility while the larger bottom strings gave me all the thump I could ever need.

Ernie Ball Hybrid Slinky bass strings are very good, and they have always held up just fine for me – at least a month or two and sometimes more. It will not break the bank to see if you like them, as they are pretty reasonably priced. They have a list price of $35 and an Amazon price of $16.99, and if you catch a lucky break with a sale or coupon you can get them even cheaper at Guitar Center. How can you go wrong?

2006 Fender Japan Precision Bass PB62-72AB Review

Aloha!

Though Fender Japan is no longer making instruments, there are still plenty of their great instruments out there, and many of them are quite unique and were never exported to our shores. Today we are looking at another cool piece – a fairly rare 2006 Japanese Fender Precision Bass – the “All Black” model.

The model is PB-62-72AB, meaning that its basic design is loosely based on a 1962 P Bass, and the 72 indicates its original selling price in Yen (72,000, or around $700). You can see why they call it the All Black model – it is almost all black! The body is glossy black, as is the back of the neck and the headstock. All of the hardware is black too, and the only touch of any color is the metallic Fender logo (with no other markings) on the headstock. The look of the neck and the body shape hearken back to the Jazz Bass Specials of the mid-to-late 80s, and it is sorely tempting to spray the body pearl white to complete the look. Hopefully I can resist the temptation…

I have been told that these basses are made of basswood, and this one weighs 8 pounds, 5 ounce, which is a tad heavy for basswood, that will have to remain an unsolved mystery. For now. . The neck is maple, and it is has a pretty rosewood fretboard and a slender profile with a 1 5/8” nut width.

The hardware is certainly good enough, with small-base open-gear tuners to hold the strings solidly, and a normal profile bridge. The bridge has a very similar look to the ones on the old Jazz Specials, so I wonder if it has brass saddles underneath the anodizing. Fortunately the finish on it and the neck plate have held up very well, which is not usually the case on these.

Fender Japan stepped up a bit and installed a PB-Hotrod pickup on this bass. There is no pickguard, so there is an electronics cavity routed into the back of the body, so adding active electronics should not be much of a problem if I eventually decide to go that route. But it is not really necessary, this bass has a beefier tone than similar MIJ P Basses that I have owned and played before. This is a really solid instrument in all aspects.

My guy in Tokyo came up with this one for me, and he always comes up with the coolest stuff. The condition is pretty good, with a few light dings and evidence of an-ill-advised thumb rest installation. Who does things like this? At least they did not put a brass bridge on it! It plays very well, with nice fretwork and a great set-up and action. There is plenty of bite to the sound, and it does everything a Precision Bass should do. Looking at my collection, I am not sure how it fits in, though. I already have a nice rosewood board P-Bass, but I am really taken with the looks of this one. There is no real need to have two of these, so I guess we will see which one wins out in the long run. Stay tuned!

Mahalo!

Blues Blast Magazine Album Review: Hank Mowery – Account to Me

Hello!

This CD review was originally published in the February 13, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Hank Mowery – Account To Me

Old Pal Records

www.hankmowery.com

10 tracks / 38:07

Many musicians record tribute albums that include material made popular by artists that have inspired them or touched their lives. Most always, the muse is a nationally or internationally known artist that has been active in popular culture for decades. Then there is Hank Mowery, who just released Account to Me, an ode to Gary Primich -- a blues singer and harmonica master who left us too soon, and who has not gotten the recognition he deserves.

Gary Primich was a Chicago native who moved to Austin where he made a name for himself with his blues harp and his voice. Over the course of his career he played with a lot of great groups, cut nine of his own records, and produced a very good instructional CD on how to play the harmonica. Primich passed away in 2007, just short of his 50th birthday, but not before he had the chance to touch Hank Mowery’s life. Hank ran the Rhythm Kitchen Café in Peoria, Illinois where his band, The Hawktones, played, and Gary was one of the acts that was invited to join the action on stage.

Hank Mowery is no slouch on the harmonica either, and it was natural that he would be the one to record this album, especially as he had the blessing and participation of Gary’s father, JV Primich, the executive producer of Account to Me. Hank took care of the harp and vocals on this project, and was joined by Patrick Recob on bass (Primich’s bassist, by the way), Troy Amaro on guitar, Chris Corey on the keys and John Large behind the drum kit. This disc includes five songs that were written by Primich, and two of them had not been previously released.

“Spend a Little Time” is the first track up, and it is an original that was penned by Mowery and Recob. This is fast-paced rocker with a hammering piano line and a heavily distorted organ that takes the place of the guitar. Mowery proves himself right away with his throaty voice and wailing harp. One thing to note is that he chose to record this project at Grand Rapids’ Goon Lagoon Studios in an analog format (instead of digitally), giving this album a rich vintage tone.

The next song up is the title track, a previously-unreleased Primich number that JV brought to the studio. “Account to Me” is a lovely ballad that features Amaro’s tremolo-soaked guitar with a sparse backline and Recob on the acoustic guitar. As this is a plaintive story of love and honesty it is all about the words and vocals, and the harmonica’s interplay with the guitar is just the icing on the cake. This is followed up by “Put the Hammer Down,” a snappy rockabilly song that Gary wrote about life on the road and his desire to get back home again.

Junior Valentine contributed his guitar talent on three of the songs that were written by Primich including “My Home,” which is one of the standout tracks on Account to Me. This shuffle is what the blues are all about, and this will be heard in both the melody and the lyrics. The extra guitar gives this a real barroom feel, and Mowery is at his best behind the microphone. You just cannot beat lines like: “Our bedroom looks like it’s been through a war since you made tracks and walked out that door.”

The two covers on Account to Me are both the kind of songs that Gary loved and made his mark with. Memphis Slim and Matt Murphy’s “Banana Oil” is a groovy Latin-influenced instrumental with a generous dose of Hammond B3 from Corey and plenty of edgy harp from Mowery, and at only 2 ½ minutes it leaves the listener wanting more! The other re-do is Reverend Robert Wilkins’ “That’s no Way to Get Along,” and guest artist Jimmie Stagger’s voice and National guitar join Mowery’s harmonica for this hill-country blues track. This bare-bones acoustic piece provides a marked change of pace and vibe, and is a wonderful way to bring the album to a close.

It should be pointed out that if you buy this CD it includes a terrific booklet of liner notes that were put together by Mowery’s friend Tad Robinson, who is also a fabulous vocalist and harmonica player. It contains a nice write-up of Primich’s harp style, and detailed notes about each song on the disc. This added bonus is something that used to be commonplace, but sadly has become quite rare in recent years.

Account to Me is a nice piece of work, and goes beyond the scope of most tribute albums as half of its content is made up of originals and covers that also celebrate the subject artist. Any musician would be overjoyed to have such a well thought out and produced album as their legacy. If you love the blues, rock and roll or rockabilly, Hank Mowery and his friends deliver the goods, and you should give this CD a listen.

Mahalo!

Fender Acoustasonic 30DSP Footswitch Review P/N 006206000

Howdy!

I really enjoy my Fender Acoustasonic 30DSP, as it is a very capable and compact unit that provides amplification for an acoustic guitar and a microphone. These two channels each have their own effects, which are footswitchable, but I had a lot of trouble finding out exactly which footswitch would work with this amp.

Well, I tracked it down and thought I would share the info with you – it is Fender part number 006206000 and they run about $40 to $45 online.

The Mexican-made pedal is sturdy (made of metal) and comes with a standard 12-foot ¼-inch cable. There are separate switches for the guitar and microphone channels, and its sole function is to turn the effect ON or OFF.

I know this is not much of a review, but hope that this will help out those of you who are also seeking the correct footswitch for the Acoustasonic DSP.

Mahalo!