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Prog Rock albums with impressive bass

"Carry No Cross" is one of my favorite progressive rock songs ever. That album is a lost art. One of the last concept albums that was any good. All about the muses of a mercenary assassin. Carry No Cross is his guilt and pain getting the best of him. His conscience speaking out loud. Friggin excellent stuff.

I grew up on ELP, the first piece of recorded music I ever owned was ELP's 1st album. I was eleven years old, turning 12. My mom let me pick out one album at a local record store for my birthday. I had been hearing an instrumental on the radio called "Passport to the Future" by someone long forgotten. It had some synth parts in it, but I didn't know any better so I called it "organ sounds". I asked the hippie behind the counter for that particular song on "45 RPM" and he drew a blank. So I told him it had "a lot of organ in it". He said "Well if you like a lot of organ, try this." and handed me ELP's brand new 1st release. I bought it on 8-track - and my life changed forever. Six years later (I was 17 nearly 18) I had just seen my very first "rock concert" - ELP in Pheonix. No more than a week later I bought my first Hammond, then I sold my motocross racing bike and bought my first synth - a brand new ARP Axxe. That was the winter of 1978.

I'd been a complete ELP fanatic up until then. I had moved out and left home, one night in Houston, Tx. on some college radio station they used to play new albums in their entirety late at night. They put on UK's Danger Money. I also heard Rush's Hemispheres on that same radio station around the same time. Instant Rush fan, instant UK fan.

To this day Danger Money by UK and the song Carry No Cross are still one of my very favorite recordings. I started playing bass in 1990, and all that did was make me appreciate all of this "prog" music that much more. I own everything that Keith Emerson ever recorded that I could get my hands on (stuff with ELP, and also with The Nice), every Dream Theater album (searching for more of "the stuff"). And piles of other progressive rock albums (Rush, Kansas, Yes, blabla...). Even so - Danger Money is still one of my favorite progressive rock albums I own.

I still play keys, own two vintage Hammonds (1955 M3 and a 1962 A102). I power my Leslie with two Marshall guitar heads. I have a full-on modular synth as well. Plus all of my bass guitar gear.

So - like I said - that day in that record store when the rocker-dude behind the counter handed an eleven year old kid ELP's 1st album, he changed my life forever. I'm as certain as I can be that he had no idea what he had done.

:)
 
Gotta show some love for Greg Lake, here. The 1974 tripple-live, :"Welcome Back My Friends to the Show That Never Ends, Ladies and Gentlemen, ELP" album features some subterranean dragonfire particularly in the "Tarkus" and "Karn Evil 9" epics, and the extended improvisational section of "Take a Pebble." ELP were very conducive to some unconventional rock bass lines.
 
The Tarkus suite is amazing on that album. There's some REALLY COOL You Tube vids of them doing the Tarkus suite from like 1973/74.

You can't ignore his just bitchen bass work on the studio version of "Tank" either from their first release titled "Emerson, Lake, and Palmer".

On "Welcome Back My Friends..." the song Toccata is pretty amazing as well.

The opening part of Tarkus (called "Eruption") is in 5/4 - Lake used to really hate what he called "jazz" back then, which was odd-meter stuff. Well for a guy that disliked odd meter he sure whips the heck out of it on the live Tarkus performance!

He always wanted his bass to sound like Keith's piano (the 13 foot grand). So he used a lot of PA amplification stuff (Crown heads) and huge cabs with those uber-bitchen "Acoustic Lenses" on them to bring out the top end. On the "Welcome Back" album he used a Jazz I think.

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You can see the huge PA boxes and the "acoustic lenses" - the lenses are those slanted things with the ~fins~ on the big boxes, they slant downward. You can still find acoustic lenses these days, I have always wanted to get a couple "just cuz". They were all the rage in the early 70's. Keep in mid that those cabs behind him were just his bass cabs! Those were not any part of the PA system, those were just his speaker cabs for his bass rig. And of course that rug under his feet was his famous priceless Persian rug that he had at every show they ever did.

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These are just killa pics ..

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I have about 18 more pics of Lake - comin' right up!

:)
 
Here's the last few ...

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He was probably most well known to have played this Alembic 8 string. It plagued him with head problems though. I've read that the head would break off sometimes. It was wired in stereo if I remember properly.

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ELP had one of the most extravagant PA setups of the day. They were the first ones to use "Quad" setups. The demands of that Quad rig lead to the development of modern high powered PA systems. Theirs was one of the first (if not THE first) high powered rig that permitted playing for crowds of 20 thousand+ people.

The reason Lake's bass rig was so huge was that PA systems of that era weren't able to carry the bass with any sortof significance, so bass players in the era's "Arena Bands" had to have enormously huge setups just to be heard by the ever-expanding audiences and the ever-expanding venues that the promoters were booking. He liked a very clear tone with a highly defined top end, just like a piano. So he needed a lot of headroom.

In many ways we have ELP to thank for the large "arena killer" PA systems' development.
 
poorbassist15 said:
Progressive Rock pretty much always has incredible basslines, it's almost a given. However, these are some I believe that stand out, to me anyway.

Yes-Yes Album I think this album pretty much set the standard for prog bass. As a matter of fact, you can listen to any era of Yes and be blown away by Chris Squire's basslines.

Hemispheres-Rush I think this goes without saying.

The Great Deceiver-King Crimson I had no idea how much of a solid player John Wetton was(still is) until I listened to this live compilation of 70s recordings. He's keeping up with Bill Bruford, I think that says something.

+1 to Yes, Rush and KC with Wetton.
Will add Spock's Beard such as The V album where Dave Meros show some skills.
Transatlantic Bridge Across Forever album where Pete Trewaves show some impressive chops on Stranger in your soul.
Genesis, on such as the The Lamb album, really nice stuff from Rutherford.
 
Lest we forget Tony Levin when he was with Liquid Tension Experiment. Of course he did a lot of other stuff too, but the stuff he did with LTE was pretty rad.

Can we count Dave Hope of Kansas MK1? His riffs in songs like Miracles out of Nowhere, and Magnum Opus and The Spider are thuh bawls. His picked P-bass sound was killa.

Sadly, Kansas was tragically killed in a horrible accident right around the same time that Rush was ..... ;) Somewhere around 83/84.
 
Someone mentioned Starcastle once in this thread, I gotta "+1" the heck out of that! I've been into them since 1977. The bassist (RIP Gary Strater - pancreatic cancer -very very low survival rate, 2004 saw his final Sunrise) played a Ric 4001 in a manner very different than most bass players. Almost like harmonies. I loaned their record "Fountains of Light" to a school chum back then (he was an aspiring bass player - he had a Gibson EBO). When he gave it back to me he commented on the bassist with "he plays way up here" motioning towards the upper registers of the neck.

Yea, he played "way up there" alright. The entire album is chocked full of "way up there" playing, and all such a mixture of melody and harmony.

Their works were unavailable for a long time, I still have my original LPs. But they've been re-released on CD. I can HIGHLY recommend "Fountains". Some folks called them a "Yes-knockoff". Well, maybe their vocal arrangements were Yes-like, but after that they were pretty much their own gig. Lyrically the music is all about cosmic light and spacial ideas, all very sortof "new age" (as opposed to "new wave") stuff. All very "head trippy" sortof stuff. Heavily influenced by the UK Progressive Rock movement of the 1970s (man I miss those days, the music was incredible, and it was on FM radio all the time). Chicks like them.

I've heard some of their live stuff on You Tube. Gotta say what I've heard pretty much sucks-big-ass. As usual for You Tube it's difficult to tell if it's a You Tube thing or just poorly recorded.

But if you want to hear a very melodic, very harmonic, very active-within-the-song-player, check out Fountains of Light by Starcastle.
 
Whoa, time out...

Am I reading this correctly? Did you really just use the sentence "Chicks like them" in a thread about prog rock?!?!?!

This might be the first time ever in the history of the world!
Haahaa! How funny.

You know as well as anyone that a lot of girls dig guys that look non-threatening. Starcastle's ~look~ was like that of Yes .. the whole long, straight hair, tight white spandex, flowing "blowse" type shirts. And soft/high voices.

Starcastle's use of strong melody, easy-to-singalong-too vocals, and context that is within the "astro-cosmic" ethos all appeal to many females.

Granted, most hard core prog doesn't appeal to female humans. Even Dream Theater members have noted that just about the only females in their audience at live shows are the ones that the boyfriends dragged to the shows. But look at how many women LOVE Kansas, and Kansas is most assuredly progressive rock, albiet "Prog American Style".

They almost always fall for the babyfaced, non-threatening look .. take note of Justin Beiber's following.

Are they the same chicks that would go for Kiss? Or Aerosmith? Oh hells no. But still....

S'pose it depends on how one defines "chicks". Haahaa! :) Types abound.
 
Let me bring forth the mighty Focus which had several stellar bass players, such as Cyril Havermans, listen to the man's counter melodies on "House of the king" for example.


I urge everybody to go and check out their album "Moving waves"
 
Yes! Led Zeppelin aren't prog but JPJ is a genius.

Led Zeppelin are prog. They are many other things, but they are prog as well. They do albums that border on being concept albums. They do long pieces. They do strange time signatures. They do epic lyrics. They literally fit the definition of prog. Not all the time, but sometimes.

Especially the live versions. The 1/2 hour Dazed and Confused is progressive rock. No Quarter? C'mon.

As do Floyd.

I hate when people say bands aren't prog because bands are versatile, and not always prog.

And Zeppelin was the first Prog Blues band I can think of.