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Faith No More

#61
His Zon tone on the last 2 albums made me want and eventually start playing graphite necked basses...

King For a Day, Fool for a Lifetime is one of the most underrated albums in rock probably because it was a commercial bomb. They dabble in so many different styles on this record and Billy just nails each and every track in his own laidback way without it sounding forced or out of place. Its a very lively sounding record also, real crisp production.
 
#64
zongeek said:
One thing I have to point out on an earlier comment is that the song is called "Epic". The album that song was on is called The Real Things.

That said, one thing about Billy that I love and have been trying to do for a long time is that muted rythm stuff he does.

You know, where he mutes out his low E and plays the rythm on the muted string. I can do it, I always get some sort of harmonic. But that's a great technique that I've honestly only ever heard him use.
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Listen to Sting on Synchronicity... Actually I think he uses fretless quite a bit on that album but on every breath it sounds like a fretted muted. I could be wrong but it sounds similiar to what you are talking about.
 
#68
SUNNyday r. said:
Mr. Bungle was "white" rap done right.
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Audiophage said:
Maybe if you've only listened to a couple of their earlier tunes. They're so much more than that though.
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+<too many to count>

my favorite live Bungle concert moments in the late 90s are when mike violently humiliated anyone screaming for Girls of Porn :-) I do love the first album, I was in my early 20s when it came out and I was blown away more than I can express in words. But Disco Volante and California are so much more, absolute musical treasures! Back on thread, yeah Trevor's great, but Billy's awesome in a different way. Always a great line holding it down, yet thoughtful and complimentary to the song the whole time,
 
#69
Ltrain said:
OK- This may be too general of a questions. Faith No More is not my typical listening but I always kind of liked that song with the lyrics " You want it all but you can't have it". Anyway, the other night I was listening to my XM radio and there was a song on by Faith No More that had this really cool bass line grinding in the backround. For the life of me I can't recall the name of the song. Was the bass player of this band known for being any good? Are they worth checking out? Anyone have an idea about what song it was I was hearing? Sorry, I don't even recall the lyrics because I was getting off so much on the bass plus I only heard about the last half of the song. Any help would be appreciated!:bassist:
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The song that you mentioned with the lyrics "You want it all but you can't have it" is named "Epic" off of the "The Real Thing" album.

The other song you mentioned may be "From Out of Nowhere" on the same album - it gets fairly good airplay on the radio, and it's my favorite Billy Gould bassline - driving, punchy and perfect for the song.
 
#71
joeinsprings said:
Eh, hated "Angel Dust" (way too boring, and I hate the basic chord playing over the rest of band keyboard), but "the real thing" was pretty good. Their cover of warpigs is one of the best.
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Huh?

I've heard Angel Dust described in many ways, both bad and good, but "boring" is never a term that I've encountered by someone discussing that album. It is perhaps the oddest album put out and heavily marketed by a major label that I can think of.

Personally I love it, I think it's their best, followed by King For A Day, Album of the Year and then The Real Thing. Interesting bit of trivia for anyone who didn't already know: all of the music for "The Real Thing" was finished when Patton was brought onboard and he wrote all the lyrics in a span of about three weeks. Which makes the changes from that album to Angel Dust more understandable since Patton had a chance to really put his stamp on things in a much more prominent way.
 
#75
FNM was an awesome band...always pushing the limit with what they were doing. They were the most original mainstream band that I know of. The stuff Patton did/does is still the most original music around.

Billy Gould wasn't about writing songs to show out what he can play...if you think so than you don't get what FNM was about. He played what served the song, whether that was straight finger-style root note playing, machine-gun pick riffs or slap-funk lines.
 
#76
Mikeus said:
"The Real Thing" was recorded in a room the size of a basket ball court.

for those of you who havent seen this yet, enjoy...:cool:



"Angel Dust" always reminds me alot of their very first album ("We Care Alot") in some ways...
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I don't know about the recording studio for "The Real Thing,"
but I did sit in the control room while Jim Martin recorded some of his guitar leads for the Angel Dust album. That studio, over on Mission and 9th in San Francisco (directly across the street from the old Guitar Center) was tiny. Barely 15 x15. It wasn't even marked from the outside -- just a door.

Some more trivia - the Engineer/Producer for both The Real Thing and Angel Dust albums is a great guy named Matt Wallace. Really talented guy who doesn't get enough credit. Matt had a little success a few years ago producing Maroon 5's "Songs About Jane." Then, the band replaced him for their follow-up album. Big mistake imo.
 
#77
As great as Mike Patton is (and he is, really), I feel like the rest of the band gets over-looked.

Billy was the most credited songwriter (aside from Patton) in the band. So no only was his playing great and his choices in notes, style, sound, etc. great, but so is his song writing and contributions on whole.

Yes, Patton did influence the band and have a massive effect on them. But Billy and Mike Bordin were around for the lot of it with Roddy and whatever guitar player happned to not be pissing them off at the time chiming in with stuff too.

On whole, Billy is my most favorite bass player. He always had a great sound, always played really solid and great lines to the music, wrote some really amazing stuff and was very versatile with his playing as well.
 

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