tepes22b

I had seen DT on Youtube a few times and wasn't too fond of them. However, a friend let me listen to Octavarium and I enjoyed it a lot. I will be looking into more of their catalog.

Cameron is House's new boss for now. That is going to be wierd.

QUOTE (PanaceaFish @ Dec 3 2008, 09:31 PM) Kewl drawing, there!! Good episode of House last night. loved the bantering between House and Cuddy over his office, not to mention the trick he played on Kutner and Taub, priceless!! I roared with laughter when I realized what happened. Priceless, indeed.

After St. Anger, I wasn't sure what to expect from another Metallica record. I loved their first five records and at least a good chunk of the Load records, but the last one had few redeeming moments on it. Death Magnetic is the most powerful record I've heard them make in decades musically speaking. The thing I really like is that the band sounds so strong together. James riffs and vocals are great. Kirk's lead guitar work is the best he's done in years. Rob is a perfect fit as a bass player. I'm just glad they pulled it off.

Anyone seen this movie? Thoughts? Opinions?

1) Big Money - big bass riffs, 'nuff said 2) Mystic Rhythms - didn't quite get this one until I saw R30. Blew me away 3) Manhattan Project - cool song with interesting subject matter 4) Marathon - very musical, cool bass parts

Going back and listening to this album start to finish leaves me with quite a puzzle. They are all great! Spirit of the Radio was one of my early favorites, for some reason the "invisible airwaves" part has always given me goosebumpts, even when I was little. Freewill is a great song with great lyrics and great playing. Not only does that have some of the best lead guitar work on the album, but the bass during the solo is unearthly. Jacob's Ladder has recently become one of my suprise favorites, I love the epic feel, the synth arrangements, and the odd meter. Entre Nous is a cool song with riffs that are catchy, and a chorus that is odd meter-wise but still pulls you in. Different Strings is another cool, well arranged song. I actually daresay on a spectacular album, Natural Science still pretty much stands above the rest though. It has a moody, atmospheric introduction. The way it builds from a whisper to "Wheels within wheels..." to the hyperactive and jittery "a quantum leap forward" part is amazing. It builds more than once, and never lets you down. It doesn't feel like it is almost ten minutes long. The first solo is incredible, one of Alex's best period. Everyone shines in this song.

This topic has me thinking. Perhaps some bands should just issue albums with blank covers because they are so blatantly non-photogenic. Those are some legitimately horrific covers.

QUOTE (progrush2112 @ Mar 1 2006, 02:38 PM) the 'computerized clinics' part of Natural Science There's a lot of cool things going on in that song. I like the wierd pulsating sound right as "Tide Pools" fades into "Hyperspace," and then the crazy 7/8 riff comes in and hits you right in the nose. It's a powerful moment.

Oh, snap! It's Friday already. I've had a hell of a time keeping track of the days lately.

QUOTE (Mustard Death @ Feb 10 2006, 08:45 PM) Mr. T invented fools. After realizing his great folly, he then invented pity. What a twist! M.D., you are the wind beneath my wings. Thankfully, I wasn't on a library computer when I read this thread, since there were many loud outbursts on my part.

QUOTE (vital signz @ Feb 13 2006, 11:41 AM) Tough one but had to go with Limelight purely because I feel it has one of the greatest guitar solo's in history in it.....! Word to that.

QUOTE (queenshall @ Feb 14 2006, 09:08 AM) Alien still scares me SH*****S, even though I know what's coming next!!! That and Aliens are my favorite horror/sci-fi movies, although Aliens was more prone to action and a few jumpy moments here and there. Good stuff.

This is kind of crazy. I didn't like much of this album the first time I heard it. However, I did like the "Overture/Temples of Syrinx" and "Passage to Bangkok" early on. After some time, I really did get into side one, and just recently, I've really become hooked on the entire album. The only Rush album I could easily listen to from beginning to end was Moving Pictures for a long time. Suddenly, I was pulled in by "Twilight Zone" and "Something for Nothing." Soon, the whole thing fell into place and I rank 2112 as my second favorite after Moving Pictures. I especially like how the album begins with a bang with the Overture, goes through ups and downs on the softer stuff like "Tears," and ends with a bang on "Something for Nothing." This album is to me what Rush is truly about and makes me wish there was a bit more stuff of this caliber out there.

QUOTE (steelcaressed @ Feb 4 2006, 05:23 PM) Anybody notice two bass lines in portions of Ceiling Unlimited? Yeah. You'll notice the same thing happening during the second verse onward in "Ghost Rider" and on "Vapor Trail" as well. So far as I can tell, Geddy originally the verse riff of "Driven" as a combination of overdubs; one sustained "A" per measure (that I believe he triggers with the MIDI pedals live), and then two harmonized parts that go along with the guitar riff on the D and G strings. As a matter of fact, I think he does something very similar during the breakdown. Cool stuff.

****!!! I came home from my night class and fell asleep. I never woke up until it was too late.

Argh, this was a tough one. I love "Animate," "Stick it Out," "Cut to the Chase," and "Cold Fire" a lot, but without a doubt, it has to be "Leave that Thing Alone." Killer song.

I voted for YYZ. It's pretty damn amazing, not to take away from "La Villa" or anything. It's just more to the point, and the bass work is killer. Well, it's all killer on that song. However, lately I've become quite partial to "Leave that Thing Alone." I love the sound of that song, especially that eerie part with the odd meter and the church organ. Kinda reminds me of an old Castlevania game or something.

QUOTE (jazzbass @ Dec 16 2005, 06:34 PM) OK. Leave that thing alone. The B-C hammer on, down a fourth,down a fourth C-E slide up, down a fourth, B-C hammer on, A down slide to F. That verse riff is kinda haunting. Camera eye: The little C note accents pumps YYZ: it is the Jazz bass tone on the song. it is just ANGRY sounding, especially the "A" string notes they just have a visceral sound to them. The "A" string C notes that he pumps out in 8th notes. Vital signs. from a listening perspective it is the ending of the song. The bass is laying this heavy pattern on the "E" string G sharp-pull-off to G, A-sharp to C, repeat over and over. Ged just lays the foundation underneath the vocals. Red Barchetta. towards the end of the song the little bass part with the double stops. Really love the subdued use of string pops on the R-30 version. Show don't tell. right after the solo when he's playing the verse riff underneath the guitar and drums, then they all play it together. 2112: the accent of the E string A note up a third to the C-sharp 8th notes, then to the octave of the root A note. Those 5 notes take you to a nice plateau. cygnus x-1 the hollow sounding bass in the distance that gradually comes in to your face. see where I'm going here. A lot of what I like is how Geddy puts these accents into his playing. Getting his accents just right is the hardest part of nailing his tone. Finally having a lot of video of him playing is really helped to put the little nuances into my playing. Hey J-bass, welcome to the forum, and I hear what you're saying. Those little nuances of Geddy's bass playing and tone are a big part of what makes the music so great. The dark, fuzzy growl that Geds gets with his J bass is amazing. I think the reason it works so well is that all of his accents make Neil's extraordinary drum work sound even better. I mean, with all of the different drums and cymbals he hits, you have to change things up on the bass. I especially agree with YYZ and Vital Signs. YYZ just sounds incredible period, but my favorite parts are those one and two bar fills right before Alex's solo. The two bar one is my favorite, with the ascending riff and the two harmonics at the end. My favorite bit about Vital Signs (other than the fact that every bass note locks in tight with the drums) is how the first arpeggio pattern mimics the synth line, it's just drool-worthy.

QUOTE (Gmoney84 @ Dec 5 2005, 10:59 PM) Okay, i know that Moving Pictures has part 3 of 'fear' and Vapor trails has part 4....but WHAT ABOUT 1 AND 2?? what album are they on and what are they called?!?!?! i need to know!! thanks, G Yeah, they went backwards.

The feeling I get is that back in the mid 1990s, I was able to hear great new bands back to back on the radio, like Tool and Metallica, and I'd end up picking more than a few new CDs up, basically whenever I have the money. Nowadays, most bands are so weak on the radio that I have no such desire to find out more or take a chance. I don't think it's so much about having to be told what to like, but rather that the radio makes it much easier to be exposed to new music. I don't have much desire to scrape the entire underground scene for new music. Nor do I wish to look by certain categories. I got so sick of heavy metal because it became so fractitious genre-wise. I just like to hear music where a band gets together, pools their individual talents, plugs into loud amps, and cranks the volume up to 11. Bands who aren't afraid to do what they want and throw their weight around when the execs start breathing down their neck are rarer than ever, these days. Even as recently as 2001, I was listening regularly to the radio, and was on rare occasions rewarded with discovering a band like System of a Down, but within the last few years, I have been so disgusted with the radio that I only listen to it for morning talk-shows. I'm glad I have a good CD player in my car.

Bwahaha!!! Where do you come up with these, Cyg?

Driven is a sweet song. The bass solo on RiR makes me incredibly jealous. The whole riff, how it's in an odd meter and all, is cool. I like the drums too. The lyrics are cool too.

Emo, with rap a close second. I just get this feeling that since emo hit big, no one has tried to make or promote good hard rock. Rock music just doesn't have that raw edge anymore, unless you're talking about some underground band I've never heard of. Just my $.02.

Chevelle