#Geddy Lee Jazz Bass

[glfc2112]

Geddy looks very much at peace. He looks very zen.

[yukkuriyakumo]

Geddy Lee jazz bass came in today oh my goodness

Big-ass head lol

[anexceptionallysimpletheory]

amazing!

[ivan-fyodorovich-k]

When I am working through the post-overseas letdown / depression / boredom which of these instruments ought I hyperfixate on acquiring?

or

[we-are-houseguest]

resplendent sub audio pt II

hi. hope your monday is pretty chill overall. i wanted to follow up on the basses we worked with on this next ep! three great options, honestly. starting with rach's stage go-to:

this is rach's fender geddy lee jazz bass! the neck on this thing is like a guitar neck - it's absolutely tiny and it plays so fast it's unreal. this thing is E X P R E S S I V E . every single note jumps off the fretboard, it makes even simple root note runs sound so dynamic. gorgeous bass.

next up is rach's fender p-bass. pretty straight ahead stuff! what is there to say about a p-bass that hasn't been said before? not a lot. i double tracked this over a couple of the jazz performances to cheat - i didn't want the best of both worlds (a pj), i wanted BOTH WORLDS. i am a greedy engineer lol. oh, also, there's a slap part on this upcoming release (!!!) that this p-bass just excelled at. (we're not going funk. you'll see. it makes sense.) (also look at those SYNTHS. rachael is armed to the teeth.)

last up is mj's fender jazz bass! this thing kind of ended up sitting in between the geddy lee and the p-bass - more expressive than the p, but more restrained than the geddy lee. this actually landed on most of this ep, which was a pleasant surprise - it sounds fantastic and who isn't a sucker for an all-white fender? i sure am.

to my knowledge, all three of these are stock... down to NOT HAVING STRAP LOCKS. rachael just plays 'em raw on-stage and i think that is full blown psychotic (especially given that she's the one doing a lot of the running around!!!!) but i respect it. me saying "be more careful" is absolutely silly lol.

okay! see you next time! it'll probably be drums but we'll see! we're doing this in a fucked up order! anything worth doing is worth doing wrong!

~ elizabeth

[jedivoodoochile]

GEDDY LEE fue elegido el MEJOR BAJISTA de todos los tiempos por un sondeo del portal web Music Radar, en el 2018. En esa lista de celebridades figuran otras grandes firmas como JACO PASTORIUS, JOHN ENTWISTLE, PAUL MCCARTNEY, CHRIS SQUIRE, JOHN PAUL JONES, entre otros great bassists.

Sabemos que los rankings, elecciones o sondeos siempre serán arbitrarios, discutibles y hasta cuestionables. Lo que nunca estará en cuestión es la eterna OBSESIÓN que embriaga a GEDDY desde hace décadas por su instrumento favorito.

De hecho, mientras formaba parte de RUSH, Lee acogía en sus brazos varios tipos de bajo, según la época y las puestas orquestales del trío canadiense.

En los 70 y comienzos de los 80, por ejemplo, su bajo predilecto fue el Rickenbacker 4001. En la mitad de los 80, fue el Steinberger L2. En los 90, el Wal Bass, y en adelante el Fender Jazz Bass.

Y así fue sumando bajos a su arsenal hasta que, entrados los dos miles, el canadiense logró reunir tantos que en las últimas giras y conciertos del grupo usaba uno por cada canción.

Su pasión es tal que hace unos años, GEDDY editó un libro titulado "BIG BEAUTIFUL BOOK OF BASS"; "un libro -según cuenta él mismo- sobre lo que significa para mí el bajo y lo que significa para la música, especialmente desde los años 50 hasta los años 80. Así que fue un esfuerzo fascinante y un gran desafío, y de alguna manera recibí esta obsesión en mi vida como una puerta. Las obsesiones son puertas a otras cosas si lo haces bien. Fue una reeducación fabulosa del instrumento que he tenido en mis manos durante tantos años pero que he dado por sentado".

[db-reviews]

#138 - Two For The Show - Kansas (1978)

I was originally gonna get this review out on Thanksgiving, but due to family and stuff I couldn’t. That being said, better late than never ‘ey?

Prog Rock in the 70s was definitely dominated by Europe with King Crimson and or Gentle Giant raging through, though in the American continent there was still some hype around a good amount of bands. In South America there are bands like Bubu from Argentina, and Os Mutantes from Brazil. Canada got its fair share of Prog too with Harmonium and the well beloved Rush. In between them with America, most progressive acts were very centered on Jazz, most likely due to it being a big cultural thing in the 70s and 60s with acts like Frank Zappa, Miles Davis, Herbie Hancock, and Return To Forever supplying the more jazz focused music in the American region. Though for more general rock fans that want the more harder side of the genre were still in luck, especially in the Heartland area in states like Ohio, Indiana, and of course Kansas. The more American focused Prog in the Heartlands were less reliant on European classicalism and symphonics but more on a harder rock and even slightly country sound, though bands like Styx would sprinkle in some Euro influences in their music from time to time. These tropes and characteristics of American styled Prog can be seen most prominently with Kansas.

To me Kansas has never been my favorite band in my country, but that is compared to modern acts around my banks of expertise. Even though they may not be my favorite, they still have made some very amazing albums like Song For America and Point Of Know Return, and some very classic songs that I think even non Progheads love like Carry On My Wayward Son and Dust In The Wind. As an American I find Kansas to hit pretty close to home since I live in the Western Heartland area of the USA, though I was born in a coastal state. So with that being said, I absolutely adore this live album they put out in ‘78.

Two For The Show is one of Kansas’ expertly crafted musical ventures, featuring songs from their first five records (Kansas, Song For America, Masque, Leftoverture, and Point Of Know Return.) and they picked out the best of the best for this live show in those respective albums, beginning with the awesome Song For America from its titular album and ending with the big 11 minute suite Magnum Opus from Leftoverture, with the songs in between containing amazingly placed numbers like Icarus and Journey From Mariabronn. No song here is bad, not even close, and for me a good live album should, for one, bring out new experiences to songs, and create for a lively and fun atmosphere. This album does not only do both, but exceeds my expectations in how live albums should be. The big and grand sound the band raises in this live performance in each song allows them to constantly feel fresh even after multiple listens with me noticing new things each time, especially with headphones.

I think the best version of the album to listen to is the 30th anniversary edition with another hour worth of content that continues the streak of amazing songs from Kansas’ lineage. Not only do you get a mouthful of music from this edition, but so much good material that, even with its long 2 hour length, you cannot help but love it even more.

I just love the big and super radical sound Kansas exudes on this live venture, that I just want more of what they have to offer in this big adventure they set out on stage. The violin work of Robby Steinhardt is the soul part of the album for me, working hand in hand with Steve Walsh’s keyboard works and Kerry and Rich’s guitars. But, they do not compare with the immaculate bass work of Dave Hope. Again, listen to this with headphones and just listen to Dave’s bass. It is so meaty, powerful, and poignant that it is a crying shame he doesn’t get the spotlight in comparison to other bass legends like Geddy Lee and Les Claypool.

I also really like how sometimes the band would sprinkle in a bit of a melody in some cases where they interconnect the songs they are playing. You can see that with Portrait to Carry On My Wayward Son and Excerpt from "Lamplight Symphony" to The Wall. It just makes the album so much bigger and better, really solidifying the band’s Prog status while retaining their hearty sound of music.

Pretty much all of this album, front to back, is a gemstone just waiting to be cracked into. 14 songs of pure progressive stasis, and 11 more just waiting to be eaten up in the anniversary edition. If you haven’t heard this live album, do yourself a favor and listen to it since this album should be one everyone at least in some point should look into as it is one of the best live releases in my opinion. Such an amazing work of art from this band.

5/5

[fenderbassman97]

[eddie-rifff]

ill say it. i really think uk is the best prog band ever

[mrwilliewonka]

While Geddy Lee is best known for using basses like his legendary Rickenbacker 4001 in Jetglo and Fender Jazz Bass, another bass guitar of his thats become iconic was his black Rickenbacker 4080/12 Double Neck. 

This bass was a standard 4001 4-string bass on the upper neck, with a 480 12 string guitar on the bottom neck.

This bass was most famously used live for the song ‘Xanadu’, where Geddy played his normal bass parts until Alex’s guitar solo near the end of the song he would switch to the 12 string guitar neck and play a rhythm guitar part while simultaneously playing his Moog Taurus bass pedals with his feet.

And actually, the black double neck wasn’t the only one he had. Geddy also used a white Rickenbacker 4080, this one with a 6 string guitar neck instead of a 12 string on the black double neck. This one he used on ‘A Passage To Bangkok’, again playing the normal bass parts then switching to the guitar neck to play a rhythm guitar part along with the bass pedals during Alex’s solo.

The black 4080/12 was used starting with the A Farewell To Kings tour in 1977 and used until the Moving Pictures tour in 1981, after which it was retired.

The white 4080 was only used for the Hemispheres tour in 1978-79 and the Permanent Waves tour in 1980, after which it was retired.

But thats not the end of the 4080. Geddy brought out a different Fireglo colored 4080/12 along with a Jetglo 4080/12 (unknown if its his original one from the 1970s) for Rush’s final R40 tour in 2015 along with a nearly full version of ‘Xanadu’ as a last hurrah.

[glfc2112]

Geddy has a love of basses, but Fender was one of the ones he loved the most.  He even had his own signature Jazz Bass.  What is your favourite Fender bass Geddy owned whether it's his signature or otherwise?

[anagram-for-mongo]

“Plus, it’s green!”

[howaminotinthestrokesyet]

Wherever They May Roam: Cliff Burton

Cliff Burton was born on February 14th,1962 in Castro Valley, California located just outside of San Francisco. He was first introduced to music by his father, who showed him the classical genre leading to Burton taking piano lessons. He began playing bass guitar at 13 following the death of his older brother. He was quoted by his parents as saying, "I'm going to be the best bassist for my brother." Cliff would practice up to six hours a day with a variety of influences including rock, jazz, metal, country, and blues. His musical heroes included Geddy Lee, Geezer Butler, Lenny Kilmister, and others. In high school, he helped form his first band called EZ- Street, which took its name from a local topless bar. Members of this group included Jim Martin of Faith No More and Mike Bordin of Ozzy Osbourne. The three would go on to form a follow up band when they started attending Chabot College in Hayward, California called Agents of Misfortune. They would enter a local battle of the bands competition in 1981, which includes the earliest footage of him playing live. Two Metallica songs emerged from this time including “(Anesthesia)- Pulling Teeth” and the introduction “For Whom the Bells Toll.” In 1982, Burton joined his first major band called Trauma. That same year they traveled to Los Angeles to play the Whiskey a Go-Go, where Lars Ulrich and James Hetfield were in the audience. The duo had heard this amazing solo, which they thought had been played by the lead guitarist, but it was actually Burton. They immediately sought him out to recruit him as a replacement for their recently departed bass player in Metallica. He initially agreed to join the band because he felt that his current group was getting a little too commercial. The only issue emerged with his reluctance to move from San Francisco to Los Angeles. The other members of Metallica agreed to relocate to San Francisco partially because they really wanted him to be in the band. Please note that it was not the entire reason they had decided to move north because the hair metal scene also had something to do with it at that time. He would play on one of the first demos made by the band for Megaforce Records just before they recorded Kill ‘Em All. The band’s debut album featured Burton playing his “(Anesthesia)- Pulling Teeth” solo, which featured wah wah effects on his bass guitar using pedals that were not being utilized at all in metal music. The band had intended the title of the album to come from one of their earliest demos, Metal Up Your Ass. The record company did not like the title, so Metallica had to come up with a new name. Upon learning of the record company’s rejection, Burton said, “We should just kill ‘em all, man.” The other members in the group thought that it would make for a great record title. With Metallica’s second album, Ride the Lightning, he showed his developing songwriting talent by being credited on six of the eight tracks. Another song that he left his signature on came in “The Call of Ktulu.” He also contributed greatly to the third album, Master of Puppets, which is considered by many to be one of the most important heavy metal albums of all time because it brought the genre into the mainstream. This album included his favorite Metallica song, “Master of Puppets.” Sadly, this would be the last album he would play on following his tragic death in 1986 as the band was on tour in Sweden as part of the Damage Inc. tour to promote Master of Puppets.

During the European leg of that tour, members of Metallica had complained that the sleeping arrangements on their bus were far from ideal, but actually quite uncomfortable. The band members would play card games to decide who would get first choice of bunk beds, so on September 26,1986 Burden won first choice by selecting the ace of spades over Kirk Hammett. The bass player wanted the latter’s bed as Hammett recalls agreeing to it commenting that he would get more sleep at the front of the bus anyway. The following morning around 7 AM, the bus skidded off the road in Ljungby, Sweden causing Burton asleep at the time to fall out the window. The bus then rolled over and fell on top of him killing the guitarist. The bus driver would later claim that he hit a patch of black ice causing the bus to skid. James Hetfield is quoted as saying they walked up and down that road looking for any sign of ice, but they found none. He believed that the driver was covering for the fact that he had been intoxicated at the time. A local freelance photographer would film the tragic scene, and he was asked about any chance of icy conditions. He would also say that there was no way any ice could be found on the road because the conditions were dry and the temperature was well above freezing. Following the police investigation, authorities found no evidence to indicate any icy conditions, but their conclusion was it followed previous accidents when a driver falls asleep at the wheel. Yet, the driver testified that he had been fully rested at the time of the crash. He was later cleared of any fault in a local court. Cliff Burton’s body was flown back to California, where he was cremated, having his ashes spread at Maxwell Ranch in Alameda County, California. The band would pay tribute to him on their next album And Justice For All...with the track, “To Live Is To Die.” He was even given a partial songwriting credit in the liner notes. Former bandmate Dave Mustaine, who now led Megadeth, wrote a song entitled “In My Darkest Hour” when he first heard of his friend’s passing. The lyrics are not related to his death, but he did say in an interview that it was written in one sitting after hearing the news. In October 2006, a memorial stone was put in near the site of the crash to commemorate his death with lyrics from “To Live Is To Die:” “...cannot the Kingdom of Salvation take me home.” The band Anthrax would dedicate their album Among The Living to him. In 2009, Burton would be inducted posthumously with other members of Metallica into the Rock and Roll Hall of Fame.

[officialfender]

Where Did Geddy Get His Funk? — The legendary Rush bassist breaks it down. (click to read more)

[we-are-houseguest]

a resplendent sub audio experience

hey y'all. just finished off bass for this upcoming as-of-yet-unnamed ep and it went great. rach was incredibly on the nose, crushed much of it in one take - makes my life easier, for sure.

we had three basses on deck for this set of tracks: a fender geddy lee jazz, a regular white fender jazz and a fender p-bass - we used all three, but it was mostly the jazzes. i'd say roughly half and half (though we did record one song with the white jazz and the p and i'm gonna blend them). lined that through rach's pedalboard (which is pretty minimal for bass, but don't be fooled): boss waza chorus, diamond compressor, polytune. she has an old school russian big muff that we're gonna re-amp a couple parts through, too.

lined that into a super bassman with an 8x10 cab and mic'd the whole thing with a single sm7b. we actually decided against a di track because, frankly, this setup sounds INCREDIBLE.

so that's that. rach's bass parts in the can. all we need now is everything else!

~ elizabeth

[rendra23]

Hail para bassist Indonesia yuukk merapat di Eleven Guitars 🥇Musicman Stingray 5 Piezo 🥇Musicman Stingray 5 🥇Musicman Stingray Smoothie 🏅Fender Jazz Bass 1979 🏅Fender Jazz Bass Geddy Lee 🏆 Shadowaky NYC 🏆Fodera Monarch ☑️ Call or WA Eleven Guitars now for product info, advice and the Best Price: .. .. .. 🎲 08174952013 ☑️ . Please Check Our Web Site click link bio . www.elevenguitarsshop.com .. Eleven Guitars Company Puri Primacom Blok E2 Cinangka Sawangan Depok 16516 Open 09.00 - 21.00 Everyday #elevenguitarcompany #sebelasbitingcompany #elevenguitars #elevenguitar #elevenguitarsjuara #cinangkarockcity #rejekidariAllah #singaporeguitar #elevenguitarjuara #tokogitarsecond #tokogitarseken #guitarporn #cinangkarockcity #indonesiatrustedseller #tokogitarjakarta #trustedseller #tokogitarseken #tokogitarsekendepok #tokogitarsekenjakarta #guitarporn #guitarplayer #guitarist #guitarworld #bassporn #foderabass #shadowskybass #fenderjazzbass #musicmanstingray5 (at Eleven Guitar shop) https://www.instagram.com/p/CHgx_GHr0Vo/?igshid=cnwda0scnzio