What happens to the bass is often condemned to immobility, he chained to the root of the chord and, if anything, are allowed to visit the fifth or a passing note.
as a teenager is full of hormomas to which forces them to stay at home on a Saturday night ... believe me I know that.
sad fate for such an instrument, I would call it musical castration.
Fortunately there are exceptions, such as Mick Karn and John Taylor.
reescucha I delivered to Gary Numan, to see if I can put into context all this eighties revival and finish convince me that retro is trivial and banal, that nostalgia is beautiful as it is intangible, loss, misleading reconstruction of our mind bored by this.
fortunate in that I stumbled upon Odyssey We take mystery (to bed) and Music for Chameleons. Both songs have a spectacular bass lines and thought that it was Paul Gardiner, bass player of Tubeway Army. What was my surprise when, researching researching, I find that the album bassist I, Assassin (1982) by Gary Numan was Mick Karn, one of the culprits that today I am a bassist wannabe.
Within the cataract of nonsense that is to commit to the time of cataloging a musical moment, the "wave" Britain's early 80's has been in memory as New Wave. had one foot in punk and the other in the disco or funk, reggae or post-psychedelic glam, and almost always in the wake of David Bowie or Roxy Music. Between this subgentuza difícilmete
qualifying groups are as Japan, Simple Minds, Depeche Mode, Duran Duran, OMD, The Cure, Siouxsie and the Banshees and of course Tubeway Army.
the middle of the decade the market had digested them all and suffered groups to find something new to say. Few did so, I must say ... Live Aid had become politically correct, Princes of Wales gave his permission.
However there is a technical breakthrough that I have never heard mention of the critics and try to figure out the profane:
In December 1982 he launched the Prophet 600 Sequential Circuits house, the first synth with MIDI. The technological revolution of the music gave a huge leap.
M usical I NSTRUMENTS D igital I nterface is the universal protocol that allows synthesizers chains to add their capabilities, connecting computers to ultra-detail set at the smallest musical event, synchronize devices ... now used for many applications including non-musical by multimedia artists.
What happened? MIDI euphoria that filled our plastic music, sequencers, synthesizers towers placed under his dictatorship and forced to comply with all the music functions in the service of fashion and vocal star of the moment. Just as video killed the radio star, MIDI killed the rock. The triumph of the machine. The currency of the digital age. Born
"synth pop".
The logical consequence was the return to the caves that we proposed the grunge the sake of honesty and rawness ... fortunately happened and it seems that the waters return to normal, the MIDI is just another tool and the bands have returned to play, the rock is dead, but nobody give a damn. MIDI
But before, when the synthesizer was a more of a band, the sound spectrum required instruments: drums, guitars and of course low. And in that context, those two or three years earlier New Wave to MIDI, excel in Japan Mick Karn and John Taylor in Duran Duran. Without them, the bands had not been the same.
Karn is for the New Wave which is the jazz Pastorius: electric bass and frees you do live in the foreground, is almost a solo. Brings a world of color scales introducing rare short chain movement whiff syncopations of funk and music makes the whole thing is a new and exciting, completely different from what they were doing their peers. If we add to David Sylvian, Richard Barbieri and Steve Jansen in Japan, Peter Murphy in Dalis Car, or Gary Numan have one of the tastiest dishes and more undervalued in the past thirty years.
John Taylor is more discreet but no less effective, perhaps more elegant. Duran Duran is one of those bands that make intellectual and enjoying wince at the bottom of his heart unspeakable. A crucial aspect of their sound is low, especially in the first two albums. Confessed admirer of Bernard Edwards (Chic), John Taylor becomes simple harmonies contrapuntal lines while being functional, are the glue that binds the melodies of voice with the guitar funk rhythms or arpeggios, with the harmonic subtleties keyboards and of course with the battery. Always energetic, but with a sense of melody. He gave as an example
Lonely in your nightmare by not raising one of the songs famous, but more missing songs exemplify the very suggest Rio
This time I'm going to start analyzing the songs because I want to illustrate is told himself, Just have to have a team that plays the bass a little better than typical computer speakers.
Since I discovered how to put music on the blog I am much happier.
Gary Numan, I assassin (1982) 
Japan, tin drum (1981) 
Duran Duran, rio (1982) powered by performancing firefox
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