[kj] OT - Sounds of Silence - with a 12-string

Brendan Quinn bq at soundgardener.co.nz
Mon Jun 3 00:54:19 EDT 2013


A list of some of his blogs if you’re keen:



http://mjbphd.wordpress.com/category/michael-beinhorn/



Beinhorn Fires Drummers is amusing…


<http://mjbphd.wordpress.com/2010/07/30/the-work-ethic-and-breeding-stillbor
n-artists/> The work ethic and breeding stillborn artists is another good
one…





From: gathering-bounces at misera.net [mailto:gathering-bounces at misera.net] On
Behalf Of Brendan Quinn
Sent: Monday, 3 June 2013 4:38 p.m.
To: 'A list about all things Killing Joke (the band!)'
Subject: Re: [kj] OT - Sounds of Silence - with a 12-string



A primer on feel (Michael Beinhorn) - good decomposition of the role of the
bass in a couple of popular songs



http://mjbphd.wordpress.com/2011/08/04/a-primer-on-feel/



Blues and R&B are structured so that the instruments playing in the
bass/baritone range (bass, drums) are pushing ahead of the beat, while
instruments in the tenor/alto/soprano range (guitars, vocals, etc) are
generally laying back behind the beat. One obvious precedent for this is
found in big band and swing music- where the lower register instruments are
all pushing ahead, while the solo/upper range instruments are laying far
back.

In this way, the low end instruments become like an anchor; they ground the
music, give it roots and foundation.

For a long time, there has been a misconception that bass and drums are
generally meant to lay back (especially in rock music). This is probably
because people’s awareness naturally goes to instruments playing in the
tenor-soprano ranges first and are instantly aware that those instruments
are indeed, laying back.

It is relatively easy to see where instrument down beats land if one loads a
song into a DAW and looks at the resulting waveform. However, by referring
to Led Zeppelin (and several other artists), I will provide some examples
which present interdependent playing very clearly.

‘Rock And Roll’ from Led Zeppelin 4 is a perfect example of feel-based,
interdependent playing.

The song wears its roots on its sleeve. The changes are simple and blues
based. The continuous barrage of 8th notes is an homage to the
proto-R&B/rock n’ roll of Chuck Berry. Of course, the band have given the
song a proper 1970′s update replete with over driven guitars and wailing
vocals.

However, it is in the rhythm section where the song truly distinguishes
itself. The song has a raw sensuality to it, a sway, a swagger. It has a
palpable sense of excitement which belies its deceptive simplicity.

What is causing this to happen?

Because of his legacy (as well as his brilliance), many people will look to
John Bonham’s drumming as the answer, but they will only be partially
correct. This excitement is actually being generated by the interaction
between the bass, the drums and the guitar.

The drums are surging against the beat and are generally hitting a fraction
early from (or ahead of) the nearest perceived down beat. The exception to
this is the hihat (or ride cymbal) which is generally sitting in the same
time differential as the guitar. The guitar is sitting slightly behind the
drums and creating the impression that the bass and drums are laying back.

And then, there’s the bass guitar. This is the unsung instrument of all
bands, the one which creates the glue between all the other instruments and
defines exactly how the feel sits amongst them.

It is indisputable that without a great drummer, a band is generally not
good, but without a great bass guitarist, a band is simply not interesting.

The better a bass player is, the better he makes the rest of his band mates
appear. If ever a bassist existed who could make his fellow band mates look
good (at the considerable expense of going himself unnoticed in the
process), that bassist would have to be John Paul Jones.

I would invite you to play ‘Rock And Roll’, listening first to the rhythm
guitar, bass and drums. Next, try listening to only the bass and drums-
ignore the racket they are supporting. Finally, play the track and try
listening for only the bass guitar.

What a revelation that was. Wow. Listen to his choice of notes, how steady
he is. Listen to his tone. Most of all, listen to how far ahead of the rest
of the band he is.

It’s true. John Paul Jones is pushing the band along. If the drums are the
backbone of a band, the bass guitar is the kinetic force which moves
everything forward. Hear how the bass guitar is straining ahead of all the
other instruments, (even the drums, almost to the point of lightly flamming
with them). When he is at the point where he can’t move any further ahead
without obviously flamming with everyone else, he has to articulate his
phrasing in order to compensate for this.

(Of course, none of this should be surprising since John Paul Jones was a
fan of James Jamerson, the house bassist at Motown. Jamerson was one of the
most influential bassists of all time, his melodic sense was pure brilliance
and naturally, he always played far ahead of the rest of his band).

If you can, try and imagine ‘Rock And Roll’ with the bass playing precise
8th notes on every down beat- no push or pull. Imagine if Zeppelin had cut
this track to a click. Imagine if they were making a record today and the
producer insisted on gridding and editing the bass (and the drums).

Impossible. No way.







From: gathering-bounces at misera.net [mailto:gathering-bounces at misera.net] On
Behalf Of sade1
Sent: Monday, 3 June 2013 2:01 p.m.
To: real gathering
Subject: [kj] OT - Sounds of Silence - with a 12-string



Maybe kJ could use a 12-string to fill out their sound, especially their new
sound if Youth played it,

http://www.youtube.com/watch?v=jP95QX_imo8

http://www.youtube.com/watch?v=CHhACK-ttjA

or this type,

http://www.youtube.com/watch?v=i7Imd57EkYY



..maybe at least in teh studio. Or heck, Jaz goes onstage with one and with
BPF-Grohl playing the sound of Earth revolting!



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