mostly david ephgrave

Despite being a bassist for twenty-five years, and probably considering it my first instrument (though that's a bit of a fluid subject), I've only ever owned one bass guitar: my trusty Tanglewood replica of a violin bass. So I think I was entitled to upgrade to a real Hofner, which I finally did this week. Arty Hofner shot (as it's known in the trade). I approached this purchase with guilt and trepidation, as I do when I buy anything significant, despite paying in instalments and not being expensive for what it is. Surely I'm allowed a new bass every quarter-century? Particularly when it's literally* for work. And yet I can't shake the sense that I'm treating myself at a time when money's tight (and that's before today's massive fall in the pound's value on the stock market, which I probably triggered by buying it). However, I bought it to be better equipped next time some muso work comes up. While my old bass has done remarkably well conside...

I mentioned a little while ago that I'd rediscovered a cassette of my old band Big Day Out's early demos and was struck by the songs and their energy. One such track was I Get High: a burst of musical sunshine that's very evocative of the time and captures what those first few years of BDO were all about. David Ephgrave · I Get High The demo comes from a session we did with our then-manager Martin Goodrich in 1997ish. Martin was one of the first people to buy into the band and support us. He was a lovely guy with a fair bit of musical knowledge, who also owned an analogue 8-track recorder, which was a dream come true for the band's two songwriters, Rich and me, to get to play with. My friendship with Rich must have seemed unlikely at the time - he was one of the cool kids at school whereas I definitely wasn't - but it was a sparklingly productive thing. We first got chatting in Design Technology classes (when we should have been working) when we found out we both ...

In 2010, I achieved the dubious distinction of fluffing the bass part to 'Happy Birthday Sweet Sixteen' in front of its composer, Neil Sedaka. This career highlight / lowlight took place during my opening night in the West End Musical, Dreamboats and Petticoats. I had a reasonable excuse for my mistake, to be fair, as I was appearing in the show two days earlier than expected, and had only found out I’d be on a few hours before curtain up. I was shopping in Sainsbury’s when I received the call. The Company Manager told me that one of the cast had fallen ill – and while I was under no obligation to come in, as I wasn’t yet under contract, it would really help them out if I did. ‘Sod it’, I thought. ‘I might as well get my first show over and done with’. Spin forward a few hours and I was standing in the wings of The Playhouse Theatre, newly clean-shaven, about to make my West End debut. The turnaround was so quick that I’d ba...