Within a few years, the group was backing Bob Dylan on his first plugged-in tour. “There were some songs where Thurston [Moore] would have a melody for the song so he’d want me to play root notes. Steve Stevens: The Right Way to Play Billy Idol's "Rebel Yell" By Damian Fanelli . Besides the a fore mentioned national bands, Bell plays in a number of regional groups that perform throughout the northeast. Throughout his career Jimi has played with the some of the best. But despite his obvious skill, Butler has always downplayed his ability. When Berry first played him the song that would become “Maybellene,” Dixon thought it was too country & western, so “I felt that some kind of bluesy idea or feeling that wasn’t in there would make it a better song,” giving the tune a bit of rock & roll attitude. Geezer Butler was born in 1940s. The thing about Geezer was always that looseness he had with the drums. Starting as a violin prodigy, Spalding found her way to the bass by accident in high school. “I could just kind of cut him loose and stand back and celebrate his choices.”, Charles Mingus was so much more than a bass player — composer, conceptualist, classically trained cellist, social critic — that it’s sometimes easy to forget how much of a force he was on his instrument. “I think Mr. Carter is one of the consummate listening musicians ever,” said collaborator and lifelong fan Pat Metheny in 2016. Photographs used in illustration by AP/Shutterstock; Joseph Okpako/WireImage; Elaine Thompson/AP/Shutterstock, “The bass is the foundation,” session legend Carol Kaye once said, “and with the drummer you create the beat. In a 2018 interview, Carrington, a drummer and Spalding collaborator, reflected on why it was unfair to compare Esperanza to jazz-bass virtuosos of the past. Geezer grabó y participó en el tour del álbum 13 que fue organizadó como The End Tour en 2017. To learn the instrument, McKagan binged on the bass lines of Prince (“I loved that R&B rhythm,” he once said), Zeppelin’s John Paul Jones, the Clash’s Paul Simonon, Motörhead’s Lemmy Kilmister, and, most surprising, Barry Adamson of the postpunk group Magazine. To me, they should be playing guitar, not bass.… You need some balls in the bottom.… You leave the space for other people, you don’t fill it in with the bass. More recently, he’s moved into film and TV scoring, turned up on Beck’s understated Grammy winner Morning Phase, and inspired new-school luminaries like Thundercat (who recently said, “I thank God that there was a Stanley Clarke as a frame of reference to what is possible with the bass”). “And as a drummer in a band in those days, I didn’t even notice his singing.”. “If I don’t hear the singer, I’m gonna play it, but it won’t have any imagination.”, Many musicians came and went from Yes over the decades, but the only constant (at least until his death in 2015) was bassist Chris Squire. je engleski basist, najpoznatiji kao član heavy metal sastava Black Sabbath.. Karijera. Electric, acoustic, upright, and otherwise. Geezer Butler: “Drugs never made me play better. As with our 100 Greatest Drummers list, this rundown of the 50 greatest bassists of all time celebrates that entire spectrum. You can hear his bass prominently on “Every Breath You Take” and “Roxanne,” where he supports Andy Summers’ guitar riffs without overpowering them. Here we pay tribute to 50 musicians who have found that same exalted state via the bass, and changed the world in the process. “You slap, pull, thump, pluck, and pop, and you get yourself into this hypnotic state, if you’re lucky, beyond thought, where you’re not thinking because you’re just a conduit for this rhythm, from wherever it comes from, from God to you and this instrument, through a cord and a speaker.”. He has a sense of rhythm that I [find] very appealing.”, If Louis Johnson had done nothing other than play the relentless, shuffling bass line that shapes and drives Michael Jackson’s “Billie Jean,” he would still probably merit inclusion on this list. “So she’s not digging in as hard; it gives her a kind of fleeting emotion that is beautiful.”. But many of those bass players were serious musicians. Porter credited his unique style to a diverse musical background. “It wasn’t the number-one job,” McCartney once said, reflecting on the fateful moment when he took over the four-string after Stu Sutcliffe exited the Beatles. Geezer did whatever was necessary for the song to work. (“It’s like waking up one day and realizing you’re in love with a co-worker,” she once said of picking up the instrument.) You can hear his influence in practically every bass player to come since, from the Red Hot Chili Peppers’ Flea to the records Dr. Dre liberally sampled to create the G-Funk sound. “Joseph Makwela was the first person I saw playing an electric bass,” Kumalo told Bass Player in 2016. P.S. His bass solo, “(Anesthesia) — Pulling Teeth,” on their 1983 debut, Kill ‘Em All, is an aggressive showcase of classical-music improvisation and wah-wah lyricism, while his delicate intro to “Damage Inc.” and the middle of “Orion” showed just how beautiful thrash could be. This is the first time Geezer has been willing to put his name to a set of pups and if they’re good enough for him, then maybe we should give them a try! Working with his fellow Muscle Shoals players, like keyboardist Barry Beckett and drummer Roger Hawkins, Hood’s bass was equally at home in pop (Paul Simon’s “Kodachrome,” Rod Stewart’s “The First Cut Is the Deepest”), blues (Boz Scaggs’ “Loan Me a Dime”), and rock-R&B mergers (Bob Seger’s “Old Time Rock and Roll”). “But I was learning how to play bass lines and chords at the same time. Can you do a gig at the Hollywood Bowl in three days’ time?’ You don’t turn down something like that. Does anyone here know of some techniques Geezer known for? “It’s not so easy to describe exactly what it is, but, in simple terms, it’s finding just the right notes and playing them with just the right feel.”, Nothing exemplifies groove quite like the rhythmic interplay between Meters bassist George Porter Jr. and drummer Zigaboo Modeliste, a relationship that required extreme tightness to evoke the laid-back party atmosphere of their New Orleans hometown. “We understood that we were supporting them and accompanying them,” Sklar says of L.A. studio players of the era. Geezer Butler is probably ny favorite bassist aside from Al Cisneros and Bootsy Colins. McCartney’s bass could be a cool, steady support, as on “Lucy in the Sky With Diamonds” and “Dear Prudence,” or a colorful lead character in its own right — see “Paperback Writer,” “Rain,” and “A Day in the Life,” all songs where his playing conveys the yearning for a freer or more exciting life behind everyday lyrics. Since then, she’s evolved into one of the bass’s most visible 21st-century ambassadors, picking up four Grammy wins along the way. 1’s concept of “The One,” hitting the first beat of a musical measure as hard as possible and filling the rest of it with funkiness. Music Me Days. It’s emphatically not intended as a ranking of objective skill; nor does it assign any one set of criteria as a measure of greatness. It contains a 6 page Geezer Butler feature, covering such topics as the end of Black Sabbath, what Geezer did after the Sabbath tour ended, what the current status of Deadland Ritual is, and many other subjects. Much of the time he used fingers, but when it was required, out came the pick. Listen to him chugging away on classic compositions like “II B.S.” and “Better Get Hit in Your Soul,” aligning with drummer and musical soulmate Dannie Richmond, and you’ll get a sense of the strength and grace of his playing, the way he could make a walking line sound both hulking and nimble. Her virtuosic and consummately versatile bass playing is the engine that drives it all. So, you know it was a natural thing that flowed from guitar when the time came.”, Bill Black — Elvis Presley’s early bassist and part of the Blue Moon Boys, the singer’s famed trio with guitarist Scotty Moore — was never known as one of the flashiest instrumentalists of his era, but his innovative slap-bass technique was a cornerstone of Presley’s revolutionary rock & roll. But beware, these monster licks are not for the faint hearted. “You can do all kinds of things with your instrument outside of its surface purpose,” he told Interview in 2013. He does a lot of cool little arpeggio variations, and really nice work with upbeat/offbeat syncopation. It’s unorthodox, but it works for us.” After his predilection for uppers got him ousted from that band, he developed his own gritty style. Also it galvanized this idea in my head that any time you get more than one guy playing together in an ensemble, you try to make a conversation, an interesting one.” Taking that democratic maxim to heart, Watt helped rethink punk music from the ground up, creating short, sharp songs that incorporated funk, jazz, folk, blues, and even rap into their sound. We get a mixed crowd where you have kids and old blokes like me. He inspired players like Bakithi Kumalo, who anchored Paul Simon’s Graceland. “It was like being a star quarterback and passing the ball. Thanks to his long tenure in one of popular music’s funkiest groups, Porter held down the low end on classic cuts like “Cissy Strut,” “Funky Miracle,” “Just Kissed My Baby,” and “Hand Clapping Song,” providing round, fluid riffs that strutted like a Second Line parade and rattled speakers with their heaviness — listen to the way he weaves his own syncopated path through the tiniest of spaces in “Pungee,” from the band’s near-perfect second album Look-A Py Py. All that I did was just take the step and create my own band.”, “On the bass, that’s my man, Ron Carter,” Q-Tip says proudly on the outro to A Tribe Called Quest’s super-funky, said collaborator and lifelong fan Pat Metheny in 2016, . Levin plays soulfully on two of Bowie’s greatest late ballads, “Slip Away” and “Where Are We Now?” He invented “Funk Fingers,” a gadget for his percussive approach. The 10 Spookiest Guitar Riffs of All Time With Halloween right around the corner, it’s time to pull out your axe, sharpen your chops and practice some of your favorite spooky guitar songs. The group’s major singles tended to be speedy dance cuts, but there’s more room to appreciate White’s playing on the ballads: the darting, ascending rumble that opens “Can’t Hide Love”; the nubby, attacking runs in “Love’s Holiday”; the nimble, succinct riffs underpinning “After the Love Has Gone.” White left an impression on the uptempo numbers, too: Listen to him slash through “Beijo (Interlude),” making notes shiver and whine. “Look, have whatever in your collection at home, but everybody needs a little Friday night,” Chic’s Bernard Edwards said in 1979. “He wanted it like a redistribution of wealth … I was into that. Prior to Motörhead, he was a rhythm guitar player who switched to bass to play with space rockers Hawkwind. “At a certain part of a tune he’d play like three different lines, change the line on the bridge and the verses after that, and get four different lines.” The two went on to record with every major artist of reggae’s golden era, lending fluidly melodic yet implacably solid underpinning to classics like Culture’s Two Sevens Clash and Peter Tosh’s Equal Rights; they excelled in the rubbery negative space of dub, found a unique way to create an organic feel in a digital context as dancehall emerged in the Eighties, and brightened the grooves on rock and pop albums by Grace Jones, Talking Heads, Bob Dylan, Mick Jagger, and others. “I really got off on watching how he approached the instrument,” says Rush’s Geddy Lee, who toured with Claypool in the Nineties. Commenting on the unfairness of jazz critics’ polls, he once said, “I don’t want none of them damn polls. It's what gave him that signature "fwomp" along with hard plucking and beating the crap out of the strings. He brought it all to Earth, Wind, and Fire’s elegant, breathtakingly complex, million-selling albums. “I learned how to play Paul McCartney’s parts on Beatles songs and sing them at the same time.” With the Police, he contributed throbbing, melodic lines that cemented the band’s iconic blend of New Wave and reggae. “A lot of guys play with two fingers, so I figured if I played with three, I could be faster.” And even though the man has a truly thunderous thumb, his playing draws as much inspiration from Captain Beefheart as it does Bootsy Collins, with an eclectic sound that complements his self-proclaimed “pirate ditties” about alpha-male felines, mythic fisherman, and murderous hillbillies. Geezer Butler (Birmingham, 1949. július 17.) He used 10 month old bass strings on the first Black Sabbath album. Itt énekelt Ozzy Osbourne is, aki szintén alapító tagja a brit heavy metal legendának. Walking bass lines weren't uncommon in heavy music from that time. “It should be a hair behind. Whether in his own playfully eccentric songs or in one of his countless guest appearances, his signature six-string sound — fat and buttery, but with plenty of bite — always shines through. Jimi Bell is a master musician. Whether in his own, in 2013. Geezer was known to never change his bass strings. Davis is at his best in intimate settings, where his profoundly empathic playing can shine, whether he’s playing stirring arco lines in a duet with Dolphy on Duke Ellington’s “Come Sunday,” providing a warm rhythmic bed for Bruce Springsteen’s tale of a small-time criminal in “Meeting Across the River,” or conjuring impossibly poignant phrases to complement Morrison’s poetry on tracks like “Beside You.” “[F]or me, it was Richard all the way,” Astral Weeks producer Lewis Merenstein said, reflecting on the record 40 years later. Robbie Shakespeare and his rhythm and production partner drummer Sly Dunbar have implanted their immediately recognizable imprint on decades of reggae. The prog-rock giants could survive without titans like keyboardist Rick Wakeman and guitarist Steve Howe, but Squire’s work was the bedrock of their sound. Cachao moved to the U.S. in the Sixties, but didn’t find his widest recognition here until the 1990s and the release of the essential two-volume series Master Sessions. That was Haden’s great gift as a bassist, to give even the most contemporary of styles — from Coleman’s joyously unfettered excursions to the outsider folk of Beck — a feeling of the eternal. “Jack Bruce definitely opened my eyes as to what a bass player could do live,” Black Sabbath bassist Geezer Butler once said. “Some people cannot do that and will not do that, especially ‘real’ bass players,” she once said, reflecting on the simplicity of her part in “Where Is My Mind?” “They want to help push every little moment; they want to be involved. Gordon had never played the instrument before when she co-founded the band in the early Eighties, and by her own admission, her skills never reached virtuoso level. “Bringing a more feminine aesthetic into the music is mandatory at this point. “I’m still always amazed by Bill’s tastefulness in his bass playing.… He’s a very sensitive musician.” Wyman earned Richards’ praise by playing smart harmonies under the guitarist’s iconic “Satisfaction” riff (playing a melody that goes down while the guitar goes up), a gentle rumble underneath “Jumpin’ Jack Flash,” and rhythms that wiggle underneath the boogie-woogie of “Rocks Off.” “I’m not a busy bass player,” Wyman once said. Listen to his quietly descending bass line on the M.G.’s’ instrumental rendering of Sam and Dave’s “When Something Is Wrong With My Baby,” or the loping strut that opens Redding’s “(Sittin’ on) the Dock of the Bay.” Dunn, who Bootsy Collins once called a “brick in our musical foundation,” would go on to play with a who’s who of rock and pop legends — Eric Clapton, Stevie Nicks, Bill Withers, Neil Young — but it was his influential work with Booker T., Steve Cropper, and Al Jackson that redefined popular music. As Peter Frampton once said, Dunn “wrote the book on R&B bass playing.”, Although Led Zeppelin seemed to come out of nowhere, fully formed, in the late Sixties, both guitarist Jimmy Page and bassist-keyboardist John Paul Jones had years of session playing behind them. He died in 1996 at age 43. “I always wanted to be John Entwistle, but since that place was taken, I became a lesser version.”, Sting has received so much attention for his songwriting skills and singing chops over the years that his technique as a bassist sometimes gets overlooked. Try to imagine Doolittle’s opening track “Debaser” without her throbbing bass part at the beginning, or “Gigantic” (one of the few Pixies songs she wrote) without her hypnotically simple line — it propels the whole song. But the most apt was one Thunderfingers, a name bestowed upon him because every time he played a note on the bass it sounded like a vicious storm coming over the horizon. “Bringing a more feminine aesthetic into the music is mandatory at this point. Drawing inspiration from the likes of Jack Bruce, John Entwistle, and Paul McCartney, Squire had a thick, melodic tone that powered everything from Seventies prog classics like “Close to the Edge” and “Awaken” to Eighties pop hits like “Owner of a Lonely Heart.” “Chris took the art of making a bass guitar into a lead instrument to another stratosphere,” Wakeman wrote at the time of his former bandmate’s death, “and coupled with his showmanship and concern for every single note he played, made him something special.… We have now lost who, for me, are the two greatest bass players classic rock has ever known. But as long as there’s a wedding, party, or any other reason to celebrate literally anything, his catalog will remain immortal. You play puts a framework around the rest of the fusion bass god because... Reunited with Tony Iommi and Bill Ward wanted to play bass, wanted! Of bassists Electric, acoustic, upright, and Heaven & Hell grubunda yer aldı did whatever necessary. 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