What's been missing here all these years ...

[uwe]

... is a tutorial by Joey, the one man who plays with even more distortion than some members here (not giving away names, I might catch some thunder!), assless chaps are gratuity of course ...



Wait for it, Joey and Michael playing with themselves and each other! Death to false (or slow) major scales!



I now feel better about playing slow again. 

[uwe]

You want an encore? Voilà, real man(owar)ly bass playing live, he's really coming to grips with the thing at 04:49:



Eat your heart out, James Jamerson, this is how it's done!

[uwe]

And now for the completely other extreme. After Joey shredding on a four-string guitar, we have this guy with a 42" scale sub-low bass:



Theories abound among respected zoologists according to which some rare reptile species may actually hear what he does from 04:49 onwards.



It's bass, but not as we know it.

[gearHed289]

One of my former bands had Battio come up and join us on stage a couple of times. Interesting character. He can play real fast. 

[uwe]

It's an ability for sure and not everyone can do it, but it sounds awfully mechanical. Music is sometimes about notes being hidden in places you don't expect, not incessant and overt.

[westen44]

It's an ability for sure and not everyone can do it, but it sounds awfully mechanical. Music is sometimes about notes being hidden in places you don't expect, not incessant and overt.

The point you have just made is lost on many, many people in the world today.  And they could not be more clueless about it. 

[uwe]

[westen44]

[uwe]

Ringo's drumming on that is once again immaculate.

[lowend1]

[uwe]

It captures the essence!

[westen44]

Ringo's drumming on that is once again immaculate.

I've mentioned before that the Revolver album came out when the Beatles were at their peak.  They were still working as a team.  There was a unified creativity.  By the time of Sgt. Pepper, the next album, that was already gone.  Both Ringo and George have been quoted as saying they didn't even like Sgt. Pepper.  I do have to say, though, that "Tomorrow Never Knows" is kind of a weird song.  Of course I do like it.  I like everything on Revolver.  If they could have kept the attitude they had on Revolver, there is no telling what would have happened with their music.  Of course, pressure can have a positive effect, too, sometimes.  It did on Abbey Road.  But it did not on the Let It Be album. 

[Pilgrim]

It's an ability for sure and not everyone can do it, but it sounds awfully mechanical. Music is sometimes about notes being hidden in places you don't expect, not incessant and overt.

Bass in particular is often defined better by when you don't play and by playing with restraint rather than by pile-driving the listener into submission.

See also:  The Duck.
https://en.wikipedia.org/wiki/Donald_%22Duck%22_Dunn

[gearHed289]

There is an audience for the barrage of notes stuff, but I like a guitarist who thinks as part of the rhythm section, even if they are the main soloist as well.

[ilan]

I wish I could shred like this. Really. I'm not saying I'll actually play in his style, I mean I do have my standards, but it would be nice to have the option at my disposal. When Billy Sheehan doubled Steve Vai's solos note for note he wasn't ridiculed in the bass community. It was impressive.