If I may : the dude was playing Master of Puppets ... :-D
>> ^jonny:

Soooo many good bassists. Shameful of me to drop a few names like that and exclude others. Of course, it is my heaven, so I get to pick.
In reply to this comment by toferyu:
Cliff might drop by if he feels like it...
>> ^jonny:
When I get to heaven, Les Claypool will be jamming with Victor Wooten and Phil Lesh. Jaco Pastorius might be allowed to sit in on occasion.

Soooo many good bassists. Shameful of me to drop a few names like that and exclude others. Of course, it is my heaven, so I get to pick.
In reply to this comment by toferyu:
Cliff might drop by if he feels like it...
>> ^jonny:

When I get to heaven, Les Claypool will be jamming with Victor Wooten and Phil Lesh. Jaco Pastorius might be allowed to sit in on occasion.

From a cotton farm in Turkey Scratch Arkansas to the very pinnacle of the music world. 71 year old Levon Helm will soon be gone. Thought I'd post this tribute song written by Elton John from his 1971 album "Madman Across the Water".

Story here. http://www.ottawacitizen.com/Entertainment/Music/6474166/story.html

From the above story "Born May 26, 1940, in Turkey Scratch, Arkansas, the son of cotton farmers, he learned to play guitar and drums as a child. By 17 he was appearing in honky tonks in and around nearby Helena and taking in performance by such southern legends as Conway Twitty, Elvis Presley, Bo Diddley, and Ronnie Hawkins.

He joined Hawkins’ rockabilly band The Hawks just before they moved to Canada in the late 1950s.

In the early 1960s, Helm and Hawkins recruited Canadians Robbie Robertson (guitar), Rick Danko (bass) and pianist Richard Manuel and organist Garth Hudson. They left Hawkins and toured as Levon and the Hawks before backing Bob Dylan in the mid-60s. Fans weren’t initially receptive to Dylan’s switch from acoustic folky to electric folk-rocker, and Helm headed back south, working on offshore oil rigs in the Gulf of Mexico for a couple of years until bassist Rick Danko asked him to rejoin the group that would become known around the world as, simply, The Band"

Read more: http://www.ottawacitizen.com/health/Levon+Helm+near+death+wife+daughter+with+videos/6474166/story.html#ixzz1sLwHMdvM

<3 Hiromi. Also, everyone in Sonicbloom is fucking crazy good. Drummer is amazing, bassist is some kind of robot.

LOL

parts of this are grate , but the performance is like a comedy sketch , the jazzy aspects of it seem really forced and artificial and in my opinion detract from the flow and feel of the tune completely.

I'm not against jazz in general and enjoy lots of off beat and more experimental aspects of the genre just seems in this case when they go off on a more abstract jazz tangent its totally superfluous and feels out of context.

The bassist expressions and movements also look completely forced granted they are really skilled musicians and I'm sure if I played at this level I would make stupid faces but I'm reasonably certain That it would not be to this existent , after all the drummer and the pianist seem to be coping just fine ( pianist has his moments )

- Westy Review 2011

Awesome film, awesome music

It's worth noting that this version of the song is by Stephen Malkmus (from Pavement) & The Million Dollar Bashers (featuring Sonic Youth members Lee Ranaldo and Steve Shelley, Wilco guitarist Nels Cline, Television guitarist Tom Verlaine, Dylan bassist Tony Garnier, guitarist Smokey Hormel and keyboardist John Medeski)

I'm impressed with the guitarist on the left, and the bassist on the right.

I like the rhythm played high up on the neck of the guitar.

http://tabs.ultimate-guitar.com/c/cee_lo_green/fuck_you_crd.htm

You can turn on the chord diagrams, and set the variations to be around the 12 and 13 fret, and you'd have something approximate to the chords the guitarist on the left is playing.

What's up with the bassist? Did they just use a company guy? Because they try REALLY hard in the video not to show him.

I think modern culture probably exaggerates the intimacy of these other two thing, and there are more biological reasons why we're predisposed to feeling these acts should be intimate.

I can understand defecation being a more private affair, its not exactly hygienic by even the most bassist of standards to crap where you eat or sleep, many animals don't even do that. So I think the natural instinct to not befoul one/other's living area and leave and do it else where leads to it being a bit more private.

For sex, I don't know, maybe there's a competition reason for doing it in privacy.

Pair that young girl bassist with Orianthi (a young girl guitar prodigy) and we could have the beginnings of the greatest "girl band" ever.

>> ^entr0py:
One problem was that they were so interested in paying homage to the Metal that half of the noteworthy characters were voiced by old drug addled musicians who speak in s sort of mumbling monotone. Yes, Ozzy isn't the only one.

Dude, the aging metal voice overs were some of the best parts! Fucking Lemmy Kilmister, the bassist and lead singer of Motörhead, as "The Killmaster", sends you to the spider cavern to fetch him some freshly spun bass guitar strings to heal your fallen comrade with the soothing sounds of metal -- that was just badass to the core.

To be perfectly honest, you gotta love heavy metal to love Brutal Legend. I agree with almost everything Yahtzee said, but Tim Schafer and Jack Black's sense of humor combined with all the metal fanfare made this worth the buy. In fact, like all Tim Schafer games, I will probably replay this many times over the years.

The song isn't Korean, nor is the text, but the artist is. From his YouTube channel:

"H.J.Freaks means a project for making music, performance, and multimedia producing which lead by South Korean bassist whose name is Hyunmo Kim who 'hopes to be the world's greatest stupid idiot bass player'."

lol the bassist had a hard time keeping a straight face when made to drink the water

pretty neat harmonies going on here, but I wish the vocalist's voice was a bit better, he sounds like a bit of a weak singer.

Intense, that’s the best word to describe the character of the music that took hold at the outset of the 70’s. Powered by stacks of amplifiers, propelled by rock backbeats, fueled with unbridled passion, and full of the spirit of jazz improvisation, this so-called fusion music coalesced into a full blown movement with the arrival of John McLaughlin’s Mahavishnu Orchestra, Larry Coryell’s Eleventh House, and Chick Corea’s Return to Forever.

With impressive credits, Al was instantly inducted into Guitar Player’s Gallery of the Greats, becoming the youngest player in the magazine’s history ever accorded that honor.

At the outset of the 80’s, Di Meola put his Les Paul on the shelf and turned to the acoustic guitar, touring and recorded with a superstar trio including McLaughlin and Spain’s flamenco master, Paco de Lucia. He returned to his old electrified ways briefly with 1982’s «Electric Rendez-vous» and its follow-up, «Tour De Force Live». In 1983, the same year he recorded the bravado studio album «Passion, Grace & Fire» with the acoustic trio, De Meola had a brief reunion tour with his old RTF mates, Corea, drummer Lenny White, and bassist Stanley Clarke. Though the tour proved that the intensity was still very much alive, no record was released of this powerhouse fusion unit, together again for the first time since the 1976 breakup…

This video has been declared a duplicate; transferring votes to the original video and killing this dupe - dupeof declared by dystopianfuturetoday.