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The bass face
- Thread starter anonymous278347457
- Start date
Mark Wilson
Supporting Member
I got bad gas in this one:
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This picture meshes well with a recent review (DEAR GOD!):
"In the bass world, as elsewhere, there are arguably two kinds of madness: the slow, creeping, dreadful kind associated with mental disorders and chemical imbalances and the kind that is advertised, paraded, contrived: essentially a show-off, innocuous kind that is essentially a publicity stunt, more than anything else. Jacos ailment was an example of the former, ultimately contributing to his premature death, while Jay Terriens is an example of the latter. His album is, before one has even listened to a single track, a source of major irritation, the artwork/ photography, the relentless mugging, the aforementioned references to madness, sex and booze, the fact that there are 69 (get it?) tracks sequenced here Imagine my surprise, then, on discovering that this is actually not only a mature but an immensely happening album! Terrien is a bassist with a profound understanding of melodic contour, detail, space, texture and orchestration, and is more than ably assisted by King Crimson sticksman Pat Mastelotto on acoustic and electronic percussion. The tracks are excellent with the exception of cuts 12-68, simply because nothing bloody happens here! The only reference point I can come up with is Tony Levin, especially his work (but also because Mastelottos in-your-face, razor-sharp precision brings to mind King Crimson). (Reading the interview Terrien did with Martin, I realise that the production and mixing skills of Ronan Chris Murphy may have had something to do with this.) Nevertheless, Terrien is very much his own man, with a unique vision or the aural (note: not oral, Jay!) version thereof. In short, this is a scintillating album that every self-respecting bassist should get beyond the cover to listen to, if not try to get to own."
More Reviews Here: [Invalid or Expired Link Removed]
[Invalid or Expired Link Removed]
This picture meshes well with a recent review (DEAR GOD!):
"In the bass world, as elsewhere, there are arguably two kinds of madness: the slow, creeping, dreadful kind associated with mental disorders and chemical imbalances and the kind that is advertised, paraded, contrived: essentially a show-off, innocuous kind that is essentially a publicity stunt, more than anything else. Jacos ailment was an example of the former, ultimately contributing to his premature death, while Jay Terriens is an example of the latter. His album is, before one has even listened to a single track, a source of major irritation, the artwork/ photography, the relentless mugging, the aforementioned references to madness, sex and booze, the fact that there are 69 (get it?) tracks sequenced here Imagine my surprise, then, on discovering that this is actually not only a mature but an immensely happening album! Terrien is a bassist with a profound understanding of melodic contour, detail, space, texture and orchestration, and is more than ably assisted by King Crimson sticksman Pat Mastelotto on acoustic and electronic percussion. The tracks are excellent with the exception of cuts 12-68, simply because nothing bloody happens here! The only reference point I can come up with is Tony Levin, especially his work (but also because Mastelottos in-your-face, razor-sharp precision brings to mind King Crimson). (Reading the interview Terrien did with Martin, I realise that the production and mixing skills of Ronan Chris Murphy may have had something to do with this.) Nevertheless, Terrien is very much his own man, with a unique vision or the aural (note: not oral, Jay!) version thereof. In short, this is a scintillating album that every self-respecting bassist should get beyond the cover to listen to, if not try to get to own."
More Reviews Here: [Invalid or Expired Link Removed]
Nice review!
BTW, who feels that sometimes if you're playing a really nice groove that you know inside and out, you can't help but to really get into it? I can't stand still for parts I really dig. It's the only dancing I do. It's like the spirit moves me or something. But, if it's a part that I haven't gotten down perfectly and I have to concentrate a bit more, then I don't move nearly as much.
BTW, who feels that sometimes if you're playing a really nice groove that you know inside and out, you can't help but to really get into it? I can't stand still for parts I really dig. It's the only dancing I do. It's like the spirit moves me or something. But, if it's a part that I haven't gotten down perfectly and I have to concentrate a bit more, then I don't move nearly as much.
There's that groovin, kinda lips a bit out, but closed. I've been told I have the Bass look down pat. Check my avatar. That's kind the deal I'm into. Not a big on stage talker, even though I sing. Stage presence is different from band to band. The music you're playin usually sets the tone for appearance, dress, & the overall act.
I find that how much stage presence my band has really depends on what the crowd is like at gigs.
For example, a few months ago we played at a sixteenth birthday at a venue that had been rented out. There was little security, so by the time we played the audience was mainly drunk teenagers crowded around the stage and getting pretty into it. Because of this, we were having more fun and were able to move around a lot more.
At another gig we played recently, the audience was pretty crap, and not just for us, for every band except one. They didn't stand by the stage, they stood about five metres away, and only by our last song were they in front of the stage. Because they didn't get into it, or even stand close to the stage, we couldn't really get into it as much as we wanted to. We had a decent amount of stage presence but not as much as usual.
Also, for the people that find moving around etc. on stage hard, you should practice it. At practice, not all the time, but maybe one practice before your next gig say "okay guys, we need to work on stage presence" and just act as if you're playing in front of people and move around. And if you really can't do anything, at least spread your legs and rock out a bit, it looks a lot better/cooler than standing still onstage with your legs together.
Oh and for my bass face, i tend to stick out my bottom jaw or leave my mouth hanging open. Haha it sucks seeing pictures of yourself looking pretty gumby with your mouth hanging open.
For example, a few months ago we played at a sixteenth birthday at a venue that had been rented out. There was little security, so by the time we played the audience was mainly drunk teenagers crowded around the stage and getting pretty into it. Because of this, we were having more fun and were able to move around a lot more.
At another gig we played recently, the audience was pretty crap, and not just for us, for every band except one. They didn't stand by the stage, they stood about five metres away, and only by our last song were they in front of the stage. Because they didn't get into it, or even stand close to the stage, we couldn't really get into it as much as we wanted to. We had a decent amount of stage presence but not as much as usual.
Also, for the people that find moving around etc. on stage hard, you should practice it. At practice, not all the time, but maybe one practice before your next gig say "okay guys, we need to work on stage presence" and just act as if you're playing in front of people and move around. And if you really can't do anything, at least spread your legs and rock out a bit, it looks a lot better/cooler than standing still onstage with your legs together.
Oh and for my bass face, i tend to stick out my bottom jaw or leave my mouth hanging open. Haha it sucks seeing pictures of yourself looking pretty gumby with your mouth hanging open.
Bass face #4:
"The Chimp"
The act of sucking the upper lip into the mouth creating a chimp-like face when playing tasty grooves. Sometimes accompanied by a slight extrusion of the tongue. Known to cause chapped lips.
Also see: "Chimping"
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I've been accused of this one on many occasions.
---
Chris
"The Chimp"
The act of sucking the upper lip into the mouth creating a chimp-like face when playing tasty grooves. Sometimes accompanied by a slight extrusion of the tongue. Known to cause chapped lips.
Also see: "Chimping"
-----------
I've been accused of this one on many occasions.
---
Chris
Very shiny review!!! Congratulations!
And you didn't get slow, creeping gas, 'er-anythin'!
Cherie ;-)
And you didn't get slow, creeping gas, 'er-anythin'!
Cherie ;-)
"In the bass world, as elsewhere, there are arguably two kinds of madness: the slow, creeping, dreadful kind associated with mental disorders and chemical imbalances and the kind that is advertised, paraded, contrived: essentially a show-off, innocuous kind that is essentially a publicity stunt, more than anything else.
The secret, of course, is never letting them know which is which...
The secret, of course, is never letting them know which is which...
chrisp2u said:
I used to do that face ,but through the years my chops got better i stopped doing it,now i'm drooling for god's sake!!!
The bad thing is that i can't stop it.And the worst thing,my bandmates have been pushing me to sing but every time i do it i spit my heart out!!!So in every show i'm like:''Dear god hope i won't get anyone in the eye tonight''Plus i remember once on an openair gig,a soundman was trying to disentagle some of my 'naughty' cables and i got him on his neck while i was singing so he turned around when the song finished and told me we should just sing one more song cause it was probably going to rain!!!
I never felt more embarassed in my whole bass-life!
