It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Thank you.
Some features of ATS will be disabled while you continue to use an ad-blocker.
originally posted by: Astyanax
a reply to: ZetaRediculian
All right, I'm wrong. Hot Tuna were first with that melody and chord pattern. Or maybe somebody else was first.
My issue is with the masturbatory athletic exercises some people mistake for music. Neither of the above outfits are really known as perpetrators of that kind of thing, though Gov't Mule sometimes come close.
Here's an interesting point: the jock-rock fans have been accusing me of narrow-mindedness and musical ignorance. Well, all that jock stuff is ultimately derived from a single genre, the most intellectually challenged of all popular music forms: heavy metal. It's all about distortion, parallel fifths, minor third melodies and riffing. Seriously, what is the scope of that musical palette? You can add all the polyrhythms, altered chords and wanky techniques you want, but in the end it's always the same old dur-dur-dur-dur.
Here are a dozen bassists I like. All are (or were) great musicians, working in very different musical forms. Some of them don't (or didn't) play very much at all; but the music that results (or resulted) from their ensemble playing is sublime, and they share the credit for every note of it, not just the notes they play themselves. Without them, music today would sound very different. Much of it would not exist at all.
Walter Becker
Ron Carter
Bootsy Collins
Willie Dixon
John Entwistle
Charley Haden
James Jamerson
Carol Kaye
Paul McCartney
Jaco Pastorius
George Porter, Jr.
Bruce Thomas
Google the ones you're unfamiliar with, and you may find your musical horizons widening just a little bit.
originally posted by: Astyanax
Here's an interesting point: the jock-rock fans have been accusing me of narrow-mindedness and musical ignorance. Well, all that jock stuff is ultimately derived from a single genre, the most intellectually challenged of all popular music forms: heavy metal. It's all about distortion, parallel fifths, minor third melodies and riffing. Seriously, what is the scope of that musical palette? You can add all the polyrhythms, altered chords and wanky techniques you want, but in the end it's always the same old dur-dur-dur-dur.
I could care less. It happens all the time sometimes on purpose, sometimes not. Didn't George Harrison get in trouble for that?
originally posted by: Astyanax
a reply to: ZetaRediculian
All right, I'm wrong. Hot Tuna were first with that melody and chord pattern. Or maybe somebody else was first.
At any rate, I'm not on this thread to criticize Hot Tuna or Gov't Mule.
My issue is with the masturbatory athletic exercises some people mistake for music.
You can add all the polyrhythms, altered chords and wanky techniques you want, but in the end it's always the same old dur-dur-dur-dur.
Google the ones you're unfamiliar with, and you may find your musical horizons widening just a little bit.
*
Why do you care what other people enjoy or consider music?
Don't listen to it.
*
Heavy Metal came before other types of rock?
All the parallel fifths? Minor third melodies? Hmmm...they aren't standing out to me.
Hear all that distortion? Sounds pretty nice to me.
20+ GIGGING years under my belt
I don't especially, but it's the subject of this thread. Which, I believe, you started.
originally posted by: ChaosComplex
I personally think the Beatles are crap. Highly overrated, three chords and a hook crap.
originally posted by: alldaylong
originally posted by: ChaosComplex
I personally think the Beatles are crap. Highly overrated, three chords and a hook crap.
You haven't got a clue what you trying to talk about.
Songs written by The Beatles have on average 8.2 chords per song. In fact songs written by The Beatles are difficult for others to play. " You never give me your money" has TWENTY ONE chords.
Go away and learn some real facts.
www.icce.rug.nl...
www.songwritingscene.com...
In fact songs written by The Beatles are difficult for others to play. " You never give me your money" has TWENTY ONE chords.
Hear all that distortion? Sounds pretty nice to me.
originally posted by: ZetaRediculian
a reply to: ChaosComplex
Hear all that distortion? Sounds pretty nice to me.
That was actually very impressive. I must say I agree with your comments. Many of the bands I am mentioning I have grown bored with witch is why I am making my query.
You seem to want to take center stage and do your own "solo".
The point being, everyone else participating seems to "get it".
There is a wide variety of bass styles and bass players out there.
Everyone has their own idea of what makes a good bass player.
These competition threads ('whose the best?') always attract the jock fans.
Yes, and a good many of them are wrong.
When it comes to the subject of psychedelic music your " Bay Area " bands where late to the wedding
Rewriting musical history now, are we?
"The Acid Tests were the epoch of the psychedelic style and practically everything that has gone into it. I don't mean merely that the Prankster's did it first, rather, that it all came straight out of the Acid Tests in a direct line leading to the Trips Festival of January 1966. That brought the whole thing full out in the open. "Mixed-Media" entertainment--this came straight out of the Acid Tests' combination of light and movie projections, strobes, tapes, rock 'n' roll, black light. "Acid rock"-- the sound of the Beatle's Sgt. Pepper Album and the high-vibrato electronic sounds of the Jefferson Airplane, the Mother's of Invention and many other groups--the mother's of it all were the Grateful Dead at the Acid Tests. The Dead were the audio counterpart of Roy Seburn's light projections. Owsley was responsible for some of this, indirectly. Owsley had snapped back from his great Freakout and started pouring money into the Grateful Dead and, thereby, the Tests. Maybe he figured the Tests were the wave of the future, whether he had freaked out or not. Maybe he thought "acid rock" was the sound of the future and he would become a kind of Brian Epstein for the Grateful Dead. I don't know. In any case, he started buying the Dead equipment such as no rock 'n' roll band ever had before, the Beatles included, all manner of tuners, amplifiers, receivers, loudspeakers, microphones, cartridges, tapes, theatre horns, booms, lights, turntables, instruments, mixers, muters, servile mesochroics, whatever was on the market. The sound went down through so many microphones and hooked through so many mixers and variable lags and blew up in so many amplifiers and roiled around in so many speakers and fed back down so many microphones, it came on like a chemical refinery. There was something wholly new and deliriously weird in the Dead's sound, and practically everything new in rock 'n' roll, rock jazz I have heard it called, came out of it.
Even details like psychedelic poster art, the quasi-art nouveau swirls of lettering, design and vibrating colors, electro-pastels and Spectral Day-Glo, came out of the Acid Tests. Later other impresarios and performers would recreate the Prankster styles with a sophistication the Pranksters never dreamed of. Art is not eternal, boys. The posters became works of art in the accepted cultural tradition. Others would even play the Dead's sound more successfully, commercially, anyway, than the Dead. Others would do the mixed-media thing until it became pure ambrosial candy for the brain with creamy filling every time. To which Kesey would say: "They know where it is, but they don't know what it is." -- Electric Kool Aid Acid Test - Tom Wolfe - Pages 250-51
It's all about distortion, parallel fifths, minor third melodies and riffing. Seriously, what is the scope of that musical palette? You can add all the polyrhythms, altered chords and wanky techniques you want, but in the end it's always the same old dur-dur-dur-dur.
Bootsy Collins
taz4158.tripod.com...
Because we were performers - in spite of what Mick [Jagger] says about us - in Liverpool, Hamburg and other dance halls. What we generated was fantastic when we played straight rock, and there was nobody to touch us in Britain. As soon as we made it, we made it, but the edges were knocked off. You know, Brian put us in suits and all that, and we made it very, very big. But we sold out, you know. The music was dead before we even went on the theater tour of Britain. We were feeling # already, because we had to reduce an hour or two hours' playing, which we were glad about in one way, to twenty minutes, and we would go on and repeat the same twenty minutes every night. The Beatles' music died then, as musicians. That's why we never improved as musicians; we killed ourselves then to make it. And that was the end of it.