BASS CULTURE...Larry Graham


     It's true that,as the bottom end of Sly & The Family Stone,Larry Graham invented the slap-bass technique that became the downfall of nu-metal bassists who do too many wide squats.But in its context,Graham's playing was indispensable to his leader's heavy soul,nimble when he needed the song to move,anchoring when he needed to drive home his point.

SLY & The FAMILY STONE

There's A Riot Goin' On

Epic,1971


Коментари

Постави коментар

Популарни постови са овог блога

GUITAR WOLF...Joe Perry

Слика
        It’s hard to conceive a better musical foil for Steven Tyler than his longtime partner and occasional adversary. For more than 40 years, Joe Perry’s monstrous, blues-on-steroids riffs have been  Aerosmith ‘s bedrock. And his solos, jutting out from “Walk This Way” or slashing boldly through the high-gloss production of later hits like “Janie’s Got a Gun” and “Cryin’,” have a caffeinated energy that’s every bit Tyler’s match. AEROSMITH Get A Grip Geffen,1993 https://www.sendspace.com/file/rd9fbo
Прикажи све

LITTLE DRUMMER BOY...Matt Cameron

Слика
        More than any other drummer, Matt Cameron laid the rhythmic foundation for the Nineties rock revolution, reconciling proggy technicality with overwhelming force. He aptly characterized his rotary-blade rhythms on the 1991 Soundgarden track "Jesus Christ Pose" as "a pure assault of the senses," but that efficient brutality wasn't necessarily characteristic of Cameron's work with the band – his drumming on  Superunknown  is as thoughtful as it is heavy, from the fluid asymmetry of "Spoonman" to the unshakeable backbeat of "Fell on Black Days." Twenty years after its release, Dave Grohl was  still raving , "Nobody played drums like Matt." When Soundgarden suddenly disbanded in 1997, Cameron wasn't out of work for long: Pearl Jam invited him on tour the following year.  SOUNDGARDEN  Badmotorfinger A&M,1991 https://www.sendspace.com/file/uaniyr
Прикажи све

ONCE UPON A TIME...One Niter

Слика
  EELA CRAIG  One Niter  (Vertigo,1976) - Prog/Symphonic rock       The album "One Niter" is the peak of Bognemayr and K.'s artistic quest. Hubert's philharmonic ambitions found a way out in the use of a gigantic keyboard arsenal. Majestic Mellotron fanfares, chorales and a string of harpsichord arpeggios greet the listener at the threshold of the 14-minute "Circles" suite. Cosmic synth landscapes shimmer in a radiant flute scale. And then the bravura leitmotif is either played out in a full-fledged rock key with an incredibly rhythmic funk addition, or hidden behind a light fairy-tale pastoral, saturated with the leader’s touching vocals. Needless to say, the imagination of the band members literally flows here, sometimes taking on rather bizarre silhouettes. According to similar canons, an ecstatic hymn is melted into a powerful fusion structure (“Loner’s Rhyme”): hard rock marries with jazz; Encouraged by  Raoul Barnett's  congas,  "Hammond"
Прикажи све