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Post by petrolino on Dec 11, 2020 23:29:37 GMT
'Beneath The Bassline' / 'Turn It Up To 11'
Nick Wells directed the popular documentary 'Beneath The Bassline' (2018) featuring Bootsy Collins, Michael League, Robert Trujillo, Marcus Miller, Felix Pastorius, Larry Graham, Lee Sklar, Duff McKagan, Victor Wooten, Will Lee, Richard Bona, Jeff Berlin, Stefan Redtenbacher, Gail Ann Dorsey, Tim Commerford, Hugh McDonald, Nathan East, Michael Manring, John Patitucci, Stanley Clarke, Rocco Prestia, Mark King, Andrew Gouche, Nik West, Gary Willis, Thundercat, Adam ‘Nolly’ Getgood, Doug Wimbish, Billy Sheehan, Paul Turner, Oteil Burbridge and Laurence Cottle.
'Beneath The Bassline'
Now, Wells has a funding campaign online which aims to raise a sufficient amount of money to produce a follow-up documentary. The working title is 'Turned Up To 11', a reference to Rob Reiner's rock 'n' roll mockumentary 'This Is Spinal Tap' (1984) which has long been a favourite among touring musicians.
"Filmmaker Nick Wells has announced the followup to his popular bass documentary, Beneath The Bass Line. The sequel, Turned Up To 11, dives into some of the more outrageous gig stories and “Spinal Tap” moments from the world’s best bassists.
“Any number of things can go wrong when you’re a bass player on tour,” the film’s Kickstarter campaign explains. “From moments of absolute genius to moments of downright stupidity and outrage. There are some rock ‘n’ roll stories that you just couldn’t make up! A spin off from the original documentary – Beneath The Bassline, which premiered at the 2017 Doc ’N Roll Film Festival in London – we’ve tried to capture as many as we can for this film.”
The film will includes interviews and stories from Marcus Miller, Victor Wooten, David Ellefson, Michael League, Tal Wilkenfeld, Billy Sheehan, Robert Trujillo, John Patitucci, Thundercat, and more."
- Kevin Johnson, No Treble
The Captain
* Bass Workouts to Incognito & Jamiroquai with Marta Altesa & Alessandra Scaravilli
'Don't Give Hate A Chance' - Jamiroquai (Marta Altesa)
'Talkin' Loud' - Incognito (Alessandra Scaravilli)
'Little L' - Jamiroquai (Marta Altesa)
'The Way You Love' - Incognito (Alessandra Scaravilli)
'Put A Little Lovin' In Your Heart' - Incognito (Marta Altesa)
- Quartet : Bass Maestros ~ '# Records In My Life'
Glen Matlock (Sex Pistols / Rich Kids)
Captain Sensible (The Damned)
John Taylor (Duran Duran / The Power Station)
Robert Trujillo (Suicidal Tendencies / Metallica)
'Uptown Funk' - Mark Ronson ft. Bruno Mars (Mart 'Loose Juice' Goossens)
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Post by petrolino on Dec 14, 2020 0:33:21 GMT
Quartet : Bass Maestros ~ '# What's In My Bag?'
Gerald Casale (Devo)
Kim Gordon (Sonic Youth \ Free Kitten)
Tommy Stinson (The Replacements)
Lou Barlow (Dinosaur Jr. \ Sebadoh)
'Rhinocerous' - Smashing Punpkins
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Post by petrolino on Dec 19, 2020 3:09:42 GMT
Quartet : Bass Maestros ~ '# Narduwar?'
Fat Mike (NOFX)
Krist Novoselic (Nirvana / Sweet 75 / Flipper)
Natalie Mering (Jackie O-Motherfucker / Weyes Blood)
Megan Zeankowski (Lemon Twigs)
'Small Victories' - Lemon Twigs
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Post by petrolino on Feb 7, 2021 23:06:29 GMT
* Complete Pro Bass Set-Up
Setting up a bass guitar with veteran guitar technician Andy Brauer
Bruce Foxton Fans ~ Letter To America
"I have been collecting vintage guitars since around 1978. My early musical influences were broad in terms of musical genres and included bass players like Chris Squire, Jaco Pastorius, Geddy Lee, Dave Allen (Gang of Four), Bruce Foxton (The Jam), Graham Maby and, of course, Tom Petersson. I always have been a big fan of Rickenbackers and that is where my bass collection began.
On the guitar side, I became interested in Rickenbackers because of The Beatles, The Who and The Jam. Then I went on to arch-tops, specifically Hofner’s and Gibson’s. I am essentially a fan of the craft and enjoy seeing the artistry and history that goes with it.
I still play a little and enjoy the craft of songwriting. Fortunately, I have some friends here in Nashville that incorporate me into some of their songwriting sessions.
Our company is around 15-20 people at this point. We are growing at a comfortable pace and it is really exciting to see things happen with it. The people involved are passionate about connecting with players.
Nashville is a great city with ample players and luthiers. I have found it to be a real plus as session and performing artists are easily accessible and often willing to offer perspective."
- Bob Singer (President of Waterstone Musical Instruments), 12-String Bass Encyclopedia
"For Sue Sara.
A few months back, my English friend, Sue Sara, requested that I cover this song. Actually, it was more like she insisted that I cover this song. She was not taking no for an answer. Is this a "thing" with English women? Well, it’s always been in the back of my mind ever since and, when thinking about what song I was going to learn next, I figured that I would give it a listen. Not bad at all, sort of a New Wave/Punk hybrid in my opinion. I think the band may have been suggested in the past as one to cover, but I cannot recall ever having seen or heard of them before. Perhaps they did not get much airplay over here in the US.
It’s called “Beat Surrender” and it is by “The Jam” and it was released in 1982 as a single. The bass was played by Bruce Foxton.
I’m playing the Wal MK2 and was pleased to see that Bruce sometimes played an Aria Pro II bass which happens to be one of the last basses on my wish list.
Let's not forget about the disco section in the song. You don't hear that every day. Oh, and the quick riffs near the end of the song … it was one of those situations where you just play anything you can, as fast as you can. Not sure about the correctness of the notes, but, I think, what I’m playing fits the space rhythmically … and the notes might be in the ballpark."
- Troy [aka. TJH3113]
'Beat Surrender' - The Jam (TJH3113)
"Happy Belated Birthday to Bruce Foxton who was born on yesterday's date in 1955.
"Town Called Malice" by The Jam off of their album "The Gift" which came out in 1982 and featured Bruce Foxton on bass.
Someone suggested it a while back and I thought it sounded cool. I'd forgotten that I'd covered another song by The Jam a few years ago which was pretty cool - "Beat Surrender"."
- Troy [aka. TJH3113]
'Town Called Malice' - The Jam (TJH3113)
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Post by petrolino on Jul 2, 2021 23:45:14 GMT
Roving Bass Misadventures % : Busy Bass Parts & Exploratory Basslines {1968 - 1972}
'The Old Man's Back Again' ~ Scott Walker
The Summer Of Love in 1967 led to the creation of some of psychedelia's greatest musical milestones. It also led to a revolution in bass as music engineers and record producers began to explore density and sounds got heavier. Paul McCartney's intricate, melodic basslines on the Beatles' legendary longplayer 'Sgt. Pepper's Lonely Heartsclub Band' (1967) nestled comfortably alongside the equally evocative bass work of Bernie Calvert (The Hollies) on 'Butterfly' (1967), Roger Waters (Pink Floyd) on 'Piper At The Gates Of Dawn' (1967), Ronnie Lane (Small Faces) on 'Small Faces' (1967), Pete Quaife (The Kinks) on 'Something Else' (1967), Bill Wyman (Rolling Stones) on 'Their Satanic Majesties Request' (1967) and John Entwhistle (The Who) on 'The Who Sell Out' (1967). By the spring of 1968, Chris White was performing flowing basslines of such intensive beauty on the Zombies' baroque masterpiece 'Odessey And Oracle' (1968) they sounded like the bass guitar had ascended all the way to heaven. In the hard rock arena, Noel Redding anchored the sound of the Jimi Hendrix Experience on a pair of psychedelic albums that obliterated all barriers put before them, 'Are You Experienced' (1967) and 'Axis : Bold As Love. (1967). The Experience distilled soul and funk to their essence, incorporating their rhythmic aspects within a driving, psychedelic, hard rock format. Their friends in Cream were also breaking new ground, with Jack Bruce's basswork on 'Disraeli Gears' (1967) providing a touchstone for bands emerging on the heavy rock scene. Early funk groups like the Crusaders, Kool And The Gang and the Ohio Players played percussive jams on their albums, ensuring their jazz credentials remained intact. Renegade outfits like the Experience, Love and Sly And The Family Stone helped redefine the revolutionary mood of the late 1960s by imbuing straight-up, hardcore, 3-minute rock 'n' roll with tripped out soul and rumbling funk. They were sowing the seeds of pop and rock funk as they went. Moby Grape were the San Francisco Bay Area's rowdy, garage-dwelling, 3-minute (or less) cousins of expansive musical groups like Jefferson Airplane, Grateful Dead, Big Brother And The Holding Company, Blue Cheer and Quicksilver Messenger Service, groups that were regularly taking psychedelic journeys into deep waters but rarely coming up for air. The Grape's bass virtuoso Bob Mosley redefined the bass guitar for a generation with his outrageous fretwork.
Captain Beefheart And His Magic Band set the tone for progressive psychedelia in California on 'Safe As Milk' (1967), while keeping one foot planted firmly inside the garage. Their rootsy, experimental time capsules had a sturdy, old-fashioned core and were built from the bottom up, which allowed for stylistic fusion, free jazz flourishes and endless variations on a theme. Though the Captain himself was identified in the music press as a bluesman, 'I'm Glad' was a classical doo-wop ballad with just a tinge of mind-alteration, 'Abba Zabba' spun cosmic tribal boogie with just a touch of contortion, and 'Autumn's Child' employed sonic manipulation over the withered carcass of a chest-thumping flower ballad. Jerry Handley's odd bass configurations neatly underpinned the action.
'Sure 'Nuff 'N Yes I Do' - Captain Beefheart And His Magic Band
1967 was a great year for experimental pop music that unceremoniously set the stage for something special to happen. And what followed was more than just a bit special, it was revolutionary, thanks in part to the evolution of the bass.
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18 Earth-Shaking Rock 'N' Roll Bass Parts
01) 'In-A-Gadda-Da-Vida' - Iron Butterfly (June 1968) : Lee Dorman / 'Are You Happy'
02) 'Wheels Of Fire' - Cream (June 1968) : Jack Bruce / 'Crossroads'
03) 'The Family That Plays Together' - Spirit (December 1968) : Mark Andes / 'Aren't You Glad'
04) 'Ball' - Iron Butterfly (January 1969) : Lee Dorman / 'Lonely Boy'
05) 'Chicago Transit Authority' - Chicago (April 1969) : Peter Cetera / 'Introduction'
06) 'Stand!' - Sly And The Family Stone (May 1969) : Larry Graham / 'Stand!'
07) 'The Band' - The Band (September 1969) : Rick Danko / 'Up On Cripple Creek'
08) 'Four Sail' - Love (September 1969) : Frank Fayad / 'Robert Montgomery'
09) 'Led Zeppelin II' - Led Zeppelin (Ocober 1969) : John Paul Jones / 'The Lemon Song'
10) 'Fun House' - The Stooges (July 1970) : Dave Alexander / 'Dirt'
11) 'Paranoid' - Black Sabbath (September 1970) : Geezer Butler / 'Electric Funeral'
12) 'Led Zeppelin III' - Led Zeppelin (October 1970) : John Paul Jones / 'Out On The Tiles' {see also 'Tangerine'}
13) 'Twelve Dreams Of Dr. Sardonicus' - Spirit (November 1970) : Mark Andes / 'Prelude : Nothin' To Hide'
14) 'L.A. Woman' - The Doors (April 1971) : Jerry Scheff / 'L.A. Woman'
15) 'Led Zeppelin IV' - Led Zeppelin (November 1971) : John Paul Jones / 'Stairway To Heaven'
16) 'There's A Riot Goin' On' - Sly And The Family Stone (November 1971) : Larry Graham or Sly Stone / 'You Caught Me Smilin'
17) 'America Eats Its Young' - Funkadelic (May 1972) : Bootsy Collins, Prakash John or Boogie Mosson / 'If You Don't Like The Effects, Don't Produce The Cause'
18) 'Vindicator' - Arthur Lee And Band-Aid (August 1972) : Frank Fayad / 'Busted Feet'
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Stevie Wonder would pioneer a new kind of synthesised bass with 'Innervisions' (1973). As funk took full flight across America, albums like Graham Central Station's self-titled debut 'Graham Central Station' (1974), Tower Of Power's hometown surf 'Back To Oakland' (1974) and the Fatback Band's streetdance manual 'Keep On Steppin' (1974) lay the foundations for adventurous musicial collectives to let loose, thus ushering in a new era of loose-limbed disco funk in the process. Meanwhile, Canada's Rush upped the ante in the hard rock arena with their debut album 'Rush' (1974) on which they gleefully sounded like a Led Zeppelin tribute band on steroids. In the United Kingdom, Queen made strides commercially with the release of their highly experimental third album 'Sheer Heart Attack' (1974), which provided another profound shock to the system.
'Miss Black America' - Curtis Mayfield
The bass guitar was taken to ever-greater heights in the mid-1970s. Led Zeppelin's magnum opus 'Physical Graffiti' (1975) took hard-nosed bass virtuosity to its zenith and Parliament's 'Mothership Connection' (1975) crystallised the pure sounds of P-Funk for the soulwave to come. These albums showed old pros John Paul Jones and Bootsy Collins were still pioneers of their own top-down, bottom-heavy form.
'The Rover' _ Led Zeppelin
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Post by petrolino on Jul 3, 2021 2:21:15 GMT
THOMANN' GUITARS & BASSES : JULIA HOFER'S FUNKY TIPS
Larry Graham : Top 5 Bass Lines | Graham Central Station & Hidden Bonus Track | Thomann
Bootsy Collins : Top 5 Bass Lines | James Brown, Parliament-Funkadelic | Thomann
Verdine White : Top 5 Earth, Wind and Fire Bass Lines | Thomann
Verdine White : Top 5 Earth, Wind & Fire Bass Lines Part 2 | Thomann
'Just' - Radiohead
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Post by petrolino on Jul 10, 2021 1:20:08 GMT
Duran (Duran);~ Kaja-Goo-Goo-Girls' Beggers Banquet ("The Chapman Stick Blues")
"I met Nick Rhodes and it changed my life."
- Limahl
'3D Horrors' - Art Nouveau
'Kajagoogoo' - Kajagoogoo
'California' - Belinda Carlisle (with Nick Beggs & Brian Wilson)
'Shibuya Bop' - John Paul Jones & Nick Beggs
'Rio' - Duran Duran (Alessandra Scaravilli)
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Post by petrolino on Sept 3, 2021 23:55:32 GMT
> Diagnosis John Paul Jones ~ * Bass Lunatic *
'Led Zeppelin bassist John Paul Jones managed to stand out in a band with Jimmy Page, John Bonham, and Robert Plant (which for music fans, is no small feat.) From his life as a session musician, through the Zeppelin years, and more recently with Them Crooked Vultures, his grooving rock basslines inspired Jake to dig into some of the theory and technique that make these riffs and lines timeless.'
- Staff at Reverb
'Selected Bass Guitar Techniques of Led Zeppelin's John Paul Jones' [* @ Reverb]
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Post by cypher on Sept 4, 2021 0:21:18 GMT
Cymande - Bra
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Post by petrolino on Sept 4, 2021 0:30:40 GMT
Awesome, thanks so much. That's exactly what they're talkin 'bout! Bass verse includes a nod to Paul McCartney, I reckon.
Steve Scipio – Superbass
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Post by cypher on Sept 4, 2021 1:08:41 GMT
I'll throw in another favorite.
Does it belong here, or on the breaks thread?
Denton & Cook - Quiller Theme
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Post by petrolino on Sept 4, 2021 1:12:24 GMT
I'll throw in another favorite. Does it belong here, or on the breaks thread? Denton & Cook - Quiller Theme Every thread you like, please, just imagine starting up a relative beehive of activity!
But do you still retain any love for John Paul Jones? That is tonight's question I put before all thee (fare thee well)?
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Post by cypher on Sept 4, 2021 1:26:26 GMT
Every thread you like, please, just imagine starting up a relative beehive of activity!
But do you still retain any love for John Paul Jones? That is tonight's question I put before all thee (fare thee well)? Ha! I consider John Paul Jones to be a composer! Yeah, he's severely underated... I've been thinking about your Kyuss thread, and it's lead me to thinking about Eagles of Death Metal, and Them Crooked Vultures. To paraphrase John Cleese, ' I may not know much about art, but i know what I like.'
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Post by cypher on Sept 4, 2021 1:48:52 GMT
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Post by petrolino on Sept 4, 2021 2:30:08 GMT
Thanks! Every bass is welcome, keep them coming ... you love that bass, that's all that matters!!
CONTEMPORARY POP BASS (Rutger Gunnarsson of ABBA)
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Post by cypher on Oct 17, 2021 1:30:12 GMT
Cortex - Troupeau Bleu
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Post by petrolino on Nov 3, 2021 1:23:39 GMT
D'Arcy Wretzky ¬ : {Smashing Pumpkins' Enigmatic Engine}
Smashing Pumpkins perform at Cabaret Metro, Chicago, Illinois, August 14th, 1993
{Setlist : (00:00) Rocket / (05:17) Quiet / (09:02) Today / (12:58) Rhinoceros / (17:36) Geek USA / (23:24) Soma / (30:15) I Am One / (35:37) Disarm / (39:25) Spaceboy / (44:12) Starla / (53:32) Cherub Rock / (58:21) Bury Me / (1:02:49) Hummer / (1:11:30) Siva / (1:20:25) Mayonaise / (1:30:38) Drown (With extended guitar ending) / (1:38:54) Silverf*ck / (1:50:33) Bye June Tease (Ft. James Iha on drums)
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Billy Corgan's Multi-Coloured Bass Exchange
'The Everlasting Gaze' - Smashing Pumpkins with Melissa Auf Der Mehr (Hole) in 2000
'Tarantula' - Smashing Pumpkins with Ginger Reyes (Halo Friendlies) in 2007
'Drown' - Smashing Pumpkins with Nicole Fiorentino (Veruca Salt) in 2010
A Day In The Life : Post-Rehearsal - Lisa Harriton (JoLi) of Smashing Pumpkins
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D'Arcy Wretzky ~ Fender Precision : The Art Of Playing Continuous, Undulating Bass Waves
Smashing Pumpkins perform at Les Eurockéennes de Belfort music festival at Lac de Malsaucy in the Territoire de Belfort, Franche-Comté, France, July 4th, 1997
{Setlist : 01 - Glimpses / 02 - Where Boys Fear To Tread / 03 - Eye / 04 - Tonight, Tonight / 05 - Transformer / 06 - Thru The Eyes Of Ruby / 07 - The End Is The Beginning Is The End / 08 - By Starlight / 09 - Bullet With Butterfly Wings / 10 - Muzzle / 11 - 1979 / 12 - X.Y.U. / 13 - Porcelina Of The Vast Oceans / 14 - The Aeroplane Flies High (Turns Left, Looks Right)}
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Post by petrolino on Jan 15, 2022 1:13:37 GMT
< Prognosis Geezer Butler {Metal Guru} _ * Bass Mystic *
“I didn’t really know anything about bass until I went to see Cream. I knew about Eric Clapton’s guitar playing because I’d followed him since he was in John Mayall’s Bluesbreakers, but Jack Bruce’s bass playing was a complete surprise. I was a guitarist at the time, so I’d never thought about bass – and Jack completely floored me. I’d never seen anyone use bass as a sort of semi-lead instrument, while at the same time being perfectly linked to the drums and the guitar. The way he bent the notes and came down the fretboard was amazing, too. At the time he was playing a Fender VI, which I’d never seen before – they were terrible! I couldn’t even play one note on them, let alone the way he used to play them.”
- Geezer Butler, Guitar World
'How To Play Like Geezer Butler' [Bello Bass]
“Paul McCartney’s bass playing is unique. I learned some of his basslines and they’re so emotional, especially on the song 'Something'. And that’s just one of his songs – ‘I Saw Her Standing There' has a great rock ’n’ roll bassline as well. I’m a Beatles fanatic: It’s great that a band who were so popular were such great musicians as well. I appreciated all of them, even though I was a rhythm guitarist at the time and mental about John Lennon. Their musicianship often gets overlooked, or it did at that time, anyway.”
- Geezer Butler, Guitar World
'How To JAM A Metal Bass Solo Like Geezer Butler {'N.I.B.'} [Bass Buzz]
"With his apocalyptic lyrics and sludge-heavy bass tones, Geezer Butler has inspired a legion of devotees worldwide. Born Terence Michael Joseph Butler to an Irish-Catholic family in 1949, he took up rhythm guitar and formed his first group, Rare Breed, at the age of 18 with pal John ‘Ozzy’ Osbourne, eventually crossing paths with Anthony Iommi and William Ward, who played in Carlisle blues-rockers Mythology.
Butler’s fascination with sci-fi , horror films and religion helped Black Sabbath create their own revolutionary style.
After a cannabis charge-fractured Mythology, Rare Breed merged with Iommi and Ward to form Polka Tulk before changing their name to Earth and finally, at Geezer’s suggestion, Black Sabbath.
Combining elements of rock, blues, jazz, classical and prog with Butler’s fascination with sci-fi , horror films and religion, the new band created their own revolutionary style.
Sabbath sounded like iron giants lumbering through a war-torn wasteland, like the soundtrack to some cataclysmic battle between Satan and God, like the hairiest bunch of Aston sad sacks spared by fate from a life of toiling in slaughterhouses and sheet metal factories.
Armed with a fuzzed-out Fender Precision, down-tuned and coupled with wah, Sabbath’s bassist shook the devil from his strings and conjured runs both crushing and nimble, making his presence known even on quieter Sabbath songs like Solitude and Planet Caravan. Butler’s playing was mammoth but approachable, ancient yet fresh, legendary while firmly working class."
- Jamie Blaine, Music Radar
'Into The Void' - Black Sabbath
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Post by petrolino on Mar 5, 2022 23:49:59 GMT
Chris Wolstenholme ~ 'The Bandsaw' : Daisy Pepper Performs MUSE
'Plug In Baby' (with Cristhian Aguilar)
'Futurism'
'Apocalypse Please'
'Fury'
'Easily'
'MK Ultra'
'Liquid State'
'Big Freeze'
"Being a three-piece, combined with the way Matt (Bellamy) plays guitar, have given me more freedom than a lot of bass players have. I don’t think there’s anywhere where he’s just banging away playing power chords. From a sonic point of view, the bass has to fill a much bigger area than what would be normal, almost like a rhythm guitar. It’s given me the opportunity to try loads of effects and distortions, and to try to create something that sounds new on the bass.
There is a lot of space to fill. Sometimes things sound great with space, but sometimes you just want to fill them up as much as possible."
- Chris Wolstenholme
'Compliance'
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Post by cypher on Mar 6, 2022 1:57:02 GMT
Alexis Korner's Blues Incorporated - Early in the Morning
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