I was talking to a friend today and he asked me what I thought were the five best bass performances in Rock N’ Roll. Hmmm… hard question but I’ll give my opinion on it and see what happens. I love the bass and the weight that it gives to Rock music. So let’s check it out. Keep in mind these are in no particular order they are just the five that stand above the others.
1. Cliff Burton (METALLICA) “FOR WHOM THE BELL TOLLS” (LIVE) [CLIFF ‘EM ALL]
The aggressiveness of Cliff’s playing style in the intro to this song amazes me to this day. I will always remain in awe of him and wonder what more he would have given to us. Enjoy and remember:
2. JOHN ENTWISTLE (THE WHO) “BABA O’RILEY” (LIVE) 1978
The way John carries the song’s intro is magnificent. John’s solid performance style and coolness when he was laying down massive bass lines will forever influence bass players for years to come. Look at his hands, watch and listen:
What can I say, utter brilliance here. The riff is as iconic as any guitar riff. Geezer carries this song with majesty, a lot of bass players learn this bass line and try to honor it. I have seen Geezer play it live and it is just as magnificent as it is on record. Listen and get lost:
4. BILLY COX (JIMI HENDRIX) “DOLLY DAGGER”
Just listen to the bass line and you’ll hear why it is included. Billy was an amazing player period. If you’ve never heard of him look up his stuff and prepare to get blown away.:
5. STEVE HARRIS (IRON MAIDEN) “PHANTOM OF THE OPERA” (LIVE) 1980
Steve Harris and his monster bass runs make him one the most inspiring bassists in rock history. (Besides if I didn’t include Steve Eddie’s Mates would lynch me). I have always been inspired by Steve’s playing style. This is for you Eddie’s Mates:
By no means is this a complete list. There are so many more to list. These five however, jumped into my mind immediately. Please give me YOUR input!
I recently heard of a meeting between two guys that could change the world. Scattered Hamlet‘s own Adam Joad and Randy “The Arsonist”Cooper. One can only imagine the conversations that took place between them. Here’s a video link for an idea:
That’s right folks, they’re back! On November 12th The Stones will release GRRR! A compilation album that will include two NEW songs! “Doom And Gloom”, and “One More Shot”. There will be two formats: the regular version will include 50 tracks, and the super-deluxe version that has 80 (YES I SAID 80!) tracks.
“Doom And Gloom” is a welcome track to me as it breathes some of the old swagger back into the Stones music. It feels like they are back to playing dirty, nasty, sleazy ROCK N’ ROLL again. Thanks guys! Check out the lyric video right here:
Alright, alright, alright! This weeks ten bands to check out is all about the METAL! Grab your denim, grab your leather, and get those horns HIGH! Let’s get to it!
Sacred Mother Tongue is a British band that combines power, darkness, and intensity together to bring us some new excitement to the metal scene. Their EP “A Light Shines” dropped on Sept. 03.
Swedish doom metallers Witchcraft are back after a several year hiatus. Their new album “Legend” was released on Sept. 25th. The new album marks the recording debut of the band’s new members Simon Solomon (guitar), Tom Jondelius (guitar) and Oscar Johansson (drums). Magnus Pelander has stated that he will focus on his vocals without playing guitar anymore. A very strong release for this band.
Lillie: F-65 is the eighth studio album by the American doom metal band Saint Vitus, which was released on April 27, 2012 (May 22, 2012 in the United States). This is the first Saint Vitus studio album since 1995’s Die Healing and the first to feature Scott “Wino” Weinrich on vocals in 22 years, since 1990’s V. It also marks their first album with Henry Vasquez on drums. Wino is back!!!!
UPDATE: At 4;30 in the morning in a truck-stop in the small town where I live I ran into Wino. We talked for a few minutes, about music, and what not. We then went to the tour bus and snapped a pic and they turned me on to their new CD: Lillie: F-65.
Evoken is an American funeral doom metal band from Lyndhurst, New Jersey, that is influenced by the Australian band Disembowelment and the Finnish band Thergothon. The band name Evoken was taken from the Thergothon song found on the Fhtagn nagh Yog-Sothoth demo. The band was founded by guitarist Nick Orlando under the name Funereus in April 1992. It was with the original line-up of Rob (Bass/Vocals); Nick (Guitar); Phil (Guitar) & Vince (Drums) that they recorded what would be the only Funereus release, which was a rehearsal demo released in 1992. After briefly changing their name to Asmodeus the following year, the band eventually decided upon the name Evoken in 1994 after several line up changes. They headlined the Dutch Doomsday Festival in 2003 during a brief European tour of Holland, Belgium & the UK.Atra Mors is the fifth full-length studio album by American doom metal band Evoken. It was released through Profound Lore Records on July 31, 2012. The name atra mors is Latin for Black Death.
This band is a throwback to the early days of Slayer, Exodus, Kreator, and Testament. Young, and still full of aggression keep these guys on your radar! Their debut CD is called Violent Demolition. Seek it out and pick it up!
2011 was the year when UK progressive metallers TesseracT leaped from the internet underground to become the UK’s fastest rising international metal prospect. The debut album ‘One’, released in March, received a phenomenal response with music fans and the press alike, making many of the critics top albums of 2011 lists, including those in Metal Hammer and Classic Rock Prog magazines.
Starting off in 2008 the Dublin based act Red Enemy have established themselves well amongst the Irish and UK metal audiences with they’re own unique blend of melodic metal, the band have recently released their second EP “What We Are Contained In, Is What We Are Worth” to critical acclaim from peers in Ireland and abroad.
OH SHIT! The Romans have metal! This band should have been with the Spartans. Great imagery, bad ass hooks, and swords? Don’t heckle this band or you’ll lose your head. For those about to rock…..
Moonspell is a Portuguese heavy metal band. Formed in 1992, the group released their first EP Under the Moonspell in 1994, a year before the release of their first album Wolfheart. The band quickly gained status and became one of the most recognizable metal bands from Portugal. Moonspell reached the Portuguese top first with their album Sin/Pecado, and were, along with Metallica and Iron Maiden, the only metal band to reach the first place of the Portuguese charts after the release of their album, Memorial, in 2006. With Memorial, Moonspell also became the first Portuguese heavy metal band to have a record certified gold status. They are also very popular in Germany, where Memorial entered at 68th in the Top 100 Chart.
Orchid are an “occult rock” band from San Francisco, California. The band formed in 2007 with a desire to create more than just a sound — they sought to craft an entire experience harkening back to the classic era of dark, heavy music and enigmatic artistry.
Thanks to my friend Rusty Fryman for bringing this article to my attention.
We all know of the events of 09/27/1986. The music community lost a rising star when we lost Cliff Burton of Metllica in a horrific tour bus crash. The band Baroness had a guardian angel looking out for them the morning of their crash. The following article is courtesy of the Baroness website: http://baronessmusic.com/
On August 15th, just before 11 am, Baroness and our crew were involved in a very bad crash while on tour. The brakes in our bus failed completely, on a notoriously dangerous, incredibly steep (12% grade) hill in Monkton Combe, UK, on our way from a show Bristol to another show in Southampton. Our bus went entirely out of control, and we had no choice other than hitting a perpendicular guardrail going about 50 mph at the bottom of the hill. The guard rail and the 20 or 30 trees we ploughed through snapped like matchsticks as we went fully airborne and fell down more than 30 feet off of a viaduct to the ground below. Half of the band/crew were asleep while we lost our brakes, and a few of us were awake and sitting in the rear lounge. I was up front with our driver, and I bore witness to the entire thing. Once our brakes failed, the bus could do little more than gain momentum and plummet down the hill. There was nothing anyone on the bus could have done during our descent to avoid the crash, and no one, the local residents, the police or any of us can believe we survived the impact.
Most people who have been in accidents understand the pre-trauma sensation of time slowing down. There were almost two minutes during which I knew we were heading for a collision. It felt like two hours. I remember the sound of the air-brakes failing, and the panicked cursing of our driver as we slowly realized how desperate the situation was. I tried as hard as I could to yell and wake everyone up to prepare for impact. I remember the sounds of confusion from behind me as our collective terror rose. I remember seeing the guardrail split, then a cluster of trees smacking against the front windshield. While we were airborne my eyes met with our driver’s. I knew then that we each shared the same look on our face; and I won’t soon forget it. We had spent enough time in the air to appreciate, make peace with and accept a fate we thought inevitable, and we looked at one another with a horribly silent “goodbye” in our eyes.
When the bus hit the ground, I flew like a missile into the windshield. I can still see the double-paned auto glass turning blue and the spider-webbing cracks spreading outwards from the impact my body made. I hit the glass so hard, that the entire windshield flew from the frame to the ground, and I bounced back inside the bus. I landed on the ledge of the windshield. This came with an immediate and overwhelming pain throughout my body. I surveyed the damage to see instantly that my left leg was very obviously and badly broken. Then I lifted my arms forward to see if either had been damaged. My right arm was covered in burns, blood and broken glass, but working well enough. My left arm was crushed beyond belief, broken in the middle of the bone in my upper arm (humerus), and hanging 90 degrees backwar ds, with many spurs of bone poking through muscles and sinew at the surface of my skin. The bone was shattered into seven free-floating pieces, and my wrist and hand were swinging behind my back, spasming freely. Instinctively, I reached behind my back, grabbed my wrist and re-broke my arm forwards, hugging it to my chest, where it remained for the next three hours until it was cast in plaster. Meanwhile, I watched as some of the band was able to get off the bus and help the others, many of whom were broken-up as well, and several of whom were unconscious. There was blood, glass and diesel fuel everywhere.
We were all rushed to the hospital in Bath, and treated for our various injuries, broken arms, legs, vertebrae, bruises, cuts, etc. Our driver was air lifted to a separate hospital with many breaks as well. A few of us had to remain in the hospital for a few days, I was hospitalized for two weeks, following an eight-hour surgery in which my arm was rebuilt with the aid of 2 massive titanium plates, 20 screws and a foot-and-a-half of wire. The 15″ incision took almost 50 staples to close up. I was left completely immobilized for the remainder of my hospital stay, able to do next-to-nothing on my own and in need of constant care. Following those excruciating first two weeks, I was quite literally stuck in an apartment for another three weeks with my family while waiting for my doctor to allow me to safely board an airplane, for fear of bloodclots and swelling. I have just this past week returned back to the US and my home, where I am wheelchair-bound for another several weeks of physical therapy, learning to use my arm and leg again.
While I cannot lift a glass of water to my lips to drink with my left arm and hand, I am still able to play music with it. I picked up a guitar and played the day after I returned. Not without pain (for the time being), but the hand still acts out the creative impulses I give it. I’m told I was quite lucky to have regained any use at all of my hand and arm, though I have sustained quite extensive nerve damage. In spite of this and against my logic and reason, when I pick up an instrument, my hand remembers exactly what to do. It’s far from perfect, and will require a lot of therapy in order to recover mobility and strength, but I am encouraged by the ability I have been allowed. I do not believe in superstitious signs, but I am truly overwhelmed to have been granted the continued use of my hands.
As a result of the crash, I feel encouraged not only to recover, but to move forward with Baroness, as we had been doing every day previous to August 15th. This accident has inflicted an injury which has left its mark on the band: physically, mentally and spiritually. In order to rehabilitate ourselves fully, we must work towards and then past the goals we had prior to the accident. I will consider our immediate recovery a success only on the day we plug back in to play another show.
We cannot allow this accident, which I believe is unrelated to the band or our music, to slow down or stifle what has become so much more than a passionate hobby for the four of us. Through Baroness, we have discovered a method by which we may harness our drive to create, and channel all the emotion, anxiety and pain in our lives into something constructive. Music is the universal means of communication we have chosen to express ourselves. Our message has never been one of the absolute positive or negative, neither black nor white. True life occurs within the shades of grey, and I see this experience form that perspective. It seems only fitting to me that we continue working towards creating and performing again as soon as possible, as this band and its music are the vehicle through which we grow as individuals, artists and brothers. The injury the band suffered is an injury to my family and loved ones. Rather than allow it to become a wedge that forces us apart, I would like to see this experience become part of the glue that strengthens us. We have only begun to accomplish what we set out to do through this band. There is so much more to say, and though we do need to heal up a bit; we will not allow any of those things to be left unsaid.
I have no regrets about touring. I don’t blame music or the touring lifestyle for my current physical state, or for the accident itself. It happened the same way all things happen: randomly. If I was a carpenter, and I was injured on the way to the job-site, I wouldn’t consider quitting my job. That is truly how I see this situation. Baroness doesn’t stop because we got hurt on the way to work. We love what we do much more than that, and we have chosen this path because it offers us an unpredictable adventure. With any adventure that involves travel, and with any real passionate pursuit, one will occasionally come face-to-face with the reality of living on the other side of the yellow line. I didn’t choose to be a musician in order to live a risk-free life, safely avoiding bumps and bruises. I didn’t choose to play music because it seemed like a simple opportunity to make some quick cash. Nor did I ever make the assumption that things would get easier as we progressed.
We can do nothing but attempt to make something constructive and beautiful out of all this disaster, and we are well on the way to becoming active again. I have used this time, stuck inside my own head, to consider the importance of music and Baroness in my life. I can say, after nearly 6 weeks of reflection, that I feel more resolute and passionate about our music than ever. I have come to realize the importance of time in this particular equation, that is, I have none to waste and none to spare. There is no better moment than now, broken and in physical stasis, to devote ourselves more fully towards our art than ever. We cannot allow the traumatic fallout of our crash to cripple us internally. It seems simple: the shows we have cancelled we will reschedule and play in the future. It isn’t going to happen next week nor will it be next month. But it will happen. We will be back on tour as soon as we possibly can.
There was one moment in the crash that cut me deeply. For one heartbeat and one tiny sliver of time, I became disconnected entirely. It was, specifically, the moment I impacted with the glass. In that barest heartbeat of a moment, I came face to face with the infinite. I didn’t see a light, or the tunnel or hear any music. Nor did I get a “best-of” montage of my life. Instead, I felt the tip of my nose brush up against the very same fate I had accepted moments before. I looked into a cold, unreflective mirror. It was the dark, silent, dispassionate logic of the end. I realized in that moment that life can be seen as a light switch: “on” or “off”. When the moment passed and I heard the screaming, felt the pain, and tasted my own blood, I was overcome with joy. I was ecstatic to be back amidst all that chaos and horror because it was alive and real. I finally glimpsed the relative importance of all things. The support of our fans, our friends and our families has real meaning to me now. I say that now honestly, without false humility. Thank you. Everyone.
Till the wheels fall off . . .John Baizley & Baroness
We are thankful the outcome wasn’t worse for Baroness . In the case you do not know the music of Baroness here’s a video:
WOO HOO! A new KISS record! Ok, ok, I know it’s not the complete KISS (Peter and Ace will ALWAYS be missed by me) but this record is quite good. I felt like a little kid again listening to this record. The songs seem back in their classic KISS format. I have always liked the fact that KISS used all four members as lead vocalists on various songs. Granted there is only one Tommy Thayer and one Eric Singer lead vocals the two songs are amazing. “Outta This World” is a fitting tribute to the “Space Man” persona. Tommy’s vocals are solid and his playing is reminiscent of KISS of old. “All for the Love of Rock & Roll” is easily my favorite track on this record. It takes me back to a day when life was fun and everyone was having a good time. Eric handles the vocals perfectly keeping the “Catman” alive and well. Gene and Paul remain steadfast as always leading KISS as they have from day one. So, thank you KISS thank you for a MONSTER record. Do yourself a favor and pick a copy up, even if you haven’t’ been a fan This record might change that!
1. “Hell or Hallelujah” (vocals) Stanley 4:07
2. “Wall of Sound” (vocals) Simmons 2:55
3. “Freak” (vocals) Stanley 3:35
4. “Back to the Stone Age” (vocals) Simmons 3:01
5. “Shout Mercy” (vocals) Stanley 4:04
6. “Long Way Down” (vocals) Stanley 3:51
7. “Eat Your Heart Out” (vocals)Simmons 4:06
8. “The Devil Is Me” (vocals) Simmons 3:41
9. “Outta This World” (vocals) Thayer 4:29
10. “All for the Love of Rock & Roll” (vocals) Singer 3:21
11. “Take Me Down Below” (vocals) Simmons, Stanley 3:24
12. “Last Chance” (vocals) Stanley 3:05
It was a Sunday afternoon, that being said, I was feeling a bit “Beardish” and it seemed like a great day to interview them. I pulled into the parking lot of Charley’s Records and Tapes (yes tapes) and saw the Bearded ones awaiting my arrival. We snapped a few shots while we waited for my beautiful camera woman to show up and shoot the interview. When she arrived in all her glory we retired to the inner sanctum of Charley’s to get into the heads of Beard. We talked, held hands, and sang “Kumbaya”. When we were done we had all reached spiritual nirvana, a Black Unicorn appeared, and I finally was able to comprehend the band that was Beard. If you want to see the interview check it out at: http://rockunight.com/
Their CD: Black Unicorn will be released on 10/26/12 at Hooligan’s nightclub. This will be an event not to be missed. You want more? Here is the video for “Amp Whore”:
Now that I have seen the Black Unicorn I have achieved a new plane of existence and shall now be known as H. Beard…….
I just saw this on a friends wall and nothing grinds my gears more than when a band doesn’t respond, answer, interact with their fans. What’s even worse is this was a local band that snubbed this fan. And they wonder why they don’t have a fan base or are not getting anywhere. Local or national, it’s total BS and a total lack of respect being shown when a band does this. Being in a band does not give you a license to be a dick!
“I bought a CD from a local, popular band a very long time ago. I misplaced it and was heartbroken. For months, I called, messaged, texted and posted on the FB walls of the members of this band to please please let me buy another one. With no response AT ALL for months, I found my misplaced one!!! What’s sad, is I don’t even feel like listening to it now because of the blow offs and snobby attitudes from this band for months. Way to go guys! You will not keep fans acting like that!!” – Kurt Arft