Does anyone besides myself miss Bruce Thomas' bass work ???
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Does anyone besides myself miss Bruce Thomas' bass work ???
Ignoring the whole EC/BT "falling out", I find that I really love Thomas' bass playing with the Attractions - is it just me, or was he at least slightly "out of the ordinary" ??? No disrespect to Davey on this year's tour, but, imho anyway, he was kind of "just a bass player" - BT was all over his bass throwing out killer riffs back in the day....dunno, maybe it's just me
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- verbal gymnastics
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I don't think Davey is as technically a good a player as Bruce. Davey for example couldn't play the fantastic bass line at the end of Shabby Doll.
I've seen the Imposters play live quite a few times but I wouldn't call Davey the most animated of the group. Maybe he's more animated when he's not in England.
I've never seen Davey do a "duck walk" across the stage with his bass! Perhaps I've missed something.
But I would agree they are different bass players for different Elvises.
I've seen the Imposters play live quite a few times but I wouldn't call Davey the most animated of the group. Maybe he's more animated when he's not in England.
I've never seen Davey do a "duck walk" across the stage with his bass! Perhaps I've missed something.
But I would agree they are different bass players for different Elvises.
Who’s this kid with his mumbo jumbo?
- King Hoarse
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Yeah, but I miss Bruce's bass work on some of the latter Attractions shows too...
Davey & Bruce's backing vocals have both brough tears to my eyes but for completely different reasons...
Bruce is my all-time favorite bass player, but after reading the Big Wheel I sure wouldn't want to spend time with him, so I see why he's out of the band. I'd rather have Elvis direct his energy in more useful directions when not playing How To Be Dumb.
Davey & Bruce's backing vocals have both brough tears to my eyes but for completely different reasons...
Bruce is my all-time favorite bass player, but after reading the Big Wheel I sure wouldn't want to spend time with him, so I see why he's out of the band. I'd rather have Elvis direct his energy in more useful directions when not playing How To Be Dumb.
What this world needs is more silly men.
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Ahhhh, yes, the bass runs at the end of Shabby Doll...exactly the type of stuff that I had in mind when posting originally.verbal gymnastics wrote:I don't think Davey is as technically a good a player as Bruce. Davey for example couldn't play the fantastic bass line at the end of Shabby Doll.
Haven't read it, yet, and from the sounds of things, is why I discounted the "falling out" and just asked about his bass work. I thought his work with the Attractions to be excellent, and am sure he could easily pull off anything required of him by any of EC's songs post-Attractions(aside from personality conflicts .... hehheh). Was not out to discredit Davey - he's definitely got rep/creds, he's worked with,if I'm not mistaken and correct me if I'm wrong,...Cracker , John Hiatt, etc....obviously the guy has talent, I just don't feel he "stands out" (probably unjustified on my part, but hey, opinions are kinda funny that way, no ???) Thanks for humoring me, anywaysKing Hoarse wrote:....after reading the Big Wheel I sure wouldn't want to spend time with him, so I see why he's out of the band.
I've only been a fan for about 2 years, so I never got a chance to miss it really, but I do like the more melodic style of Thomas' playing. I play bass too and its boring as hell just going 'thud' 'thud' 'thud' over the drum line, which could be why Davey acts like he does on stage. I've done my share of dumbass things just to entertain myself also.
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Hmmmmm, seems to be a common concensus......guess I was too focused on EC and "mad scientist Steve" at the keyboards Oh, well, ....it's all good.chickendinna wrote:I think it's a bit of a push.A fair trade off.Bruce is the more expressive bass player however Davey adds depth to the sound because of his vocals.
I generally don't pay as much attention to bass as I do to other instruments, but I have come to the conclusion that it was Bruce's playing, as much as anything, that was responsible for the weird, wonderful sound of the Attractions. I read that EC once referred to Bruce playing "lead bass" (lead like being in front, not the heavy metal). Good description.
I understand why EC couldn't keep him around, but his music has suffered for it, IMO.
I'm sure Davey F. is a fine bass player, but he doesn't stand out to me. EC also tends to put the bass level up way too high with the Imposters, even on studio recordings. I can barely tolerate much of WIWC for this reason. Delivery Man was not as extreme, but still too bass-heavy IMO.
All that being said, EC is still the greatest of my generation by far!
I understand why EC couldn't keep him around, but his music has suffered for it, IMO.
I'm sure Davey F. is a fine bass player, but he doesn't stand out to me. EC also tends to put the bass level up way too high with the Imposters, even on studio recordings. I can barely tolerate much of WIWC for this reason. Delivery Man was not as extreme, but still too bass-heavy IMO.
All that being said, EC is still the greatest of my generation by far!
http://www.tasminarcher.com/stnd/music.php?ref=3
On - Tasmin Archer
Vocals - Tasmin Archer
Bass - Bruce Thomas
Other instrumentation - John Hughes
Recorded and mixed by John Hughes
Produced by John Hughes
Released:
September 18th 2006
http://www.amazon.co.uk/Tasmin-Archer/d ... F8&s=music
http://www.mundanesounds.com/2006/12/tasmin-archer.html
Tasmin Archer
December 5, 2006
( extract)
Jumping ahead to the present: how was the creation of ON for you? Being thoroughly in control of your destiny and your music must have been a totally new, invigorating experience, in light of your previous records.
When we started shaping the songs that are on ON we made work in progress versions available as free downloads for fans. We received some good feedback which was very encouraging because back then we weren't even thinking of putting an album out, much less putting it out on our own label. We were just feeling our way in the dark a bit. We were starting to really enjoy demoing and developing the songs and we wrote a ton of material during this time. As time went on, step by step, we found certain songs were standing out as if they might sit well together as an album so we thought why not put it out.
We had no intention of giving up creative control to any major label ever again so we eventually decided to set up our own label for this purpose. It was, and still is, all new territory for us but we're learning about all that side of it as we go along. It was a steep learning curve for us at first, even the recording and producing of the album at our home was a challenge. In the past we had worked with some really good producers in the best studios so it was a real challenge just trying to get the sounds we wanted and the best performances. It all took time but it was an enjoyable experience and rewarding. As well as co writing all the songs on the album John Hughes did all the recording, all the production and mixing, as well as playing the majority of the instruments on the album. The only other person appearing on the album was Bruce Thomas (of The Attractions) who played the bass.
On - Tasmin Archer
Vocals - Tasmin Archer
Bass - Bruce Thomas
Other instrumentation - John Hughes
Recorded and mixed by John Hughes
Produced by John Hughes
Released:
September 18th 2006
http://www.amazon.co.uk/Tasmin-Archer/d ... F8&s=music
http://www.mundanesounds.com/2006/12/tasmin-archer.html
Tasmin Archer
December 5, 2006
( extract)
Jumping ahead to the present: how was the creation of ON for you? Being thoroughly in control of your destiny and your music must have been a totally new, invigorating experience, in light of your previous records.
When we started shaping the songs that are on ON we made work in progress versions available as free downloads for fans. We received some good feedback which was very encouraging because back then we weren't even thinking of putting an album out, much less putting it out on our own label. We were just feeling our way in the dark a bit. We were starting to really enjoy demoing and developing the songs and we wrote a ton of material during this time. As time went on, step by step, we found certain songs were standing out as if they might sit well together as an album so we thought why not put it out.
We had no intention of giving up creative control to any major label ever again so we eventually decided to set up our own label for this purpose. It was, and still is, all new territory for us but we're learning about all that side of it as we go along. It was a steep learning curve for us at first, even the recording and producing of the album at our home was a challenge. In the past we had worked with some really good producers in the best studios so it was a real challenge just trying to get the sounds we wanted and the best performances. It all took time but it was an enjoyable experience and rewarding. As well as co writing all the songs on the album John Hughes did all the recording, all the production and mixing, as well as playing the majority of the instruments on the album. The only other person appearing on the album was Bruce Thomas (of The Attractions) who played the bass.
Bruce was wonderful in The Attractions. And, I do miss The Attractions' sound.
But, As EC has said, Bruce and Steve are both melodic, lead instrumentalists. Elvis said that because of this, he and Pete had to be the ryhthm section.
With Davey Faragher, The Imposters have a more standard rhythm section. The benefits being, The Imposters have a funkier, R&B sound; and EC can actually play lead guitar.
That being said, Bruce had so many great shining moments on Attractions records. Just listen to the great bass line on "Pump It Up".
But, As EC has said, Bruce and Steve are both melodic, lead instrumentalists. Elvis said that because of this, he and Pete had to be the ryhthm section.
With Davey Faragher, The Imposters have a more standard rhythm section. The benefits being, The Imposters have a funkier, R&B sound; and EC can actually play lead guitar.
That being said, Bruce had so many great shining moments on Attractions records. Just listen to the great bass line on "Pump It Up".
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- Lester Burnham
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But while with The Attractions, Elvis's music rarely focused on vocal harmonies... it was mostly just the performance aspect. Nowadays, sure, there might be more vocal harmonies, but who knows what EC would have done these days -- vocally or instrumentally -- if he and Bruce had been able to stand being in the same room / on the same stage for five minutes.Dr. Luther wrote:Although I would never say that Faragher is "better" than Thomas -- Davey's vocal capabilities makes his presence invaluable...
Regarding Bruce, I really do enjoy his melodic bass work, and while I wasn't born in time to see The Attractions in their hey-day, listening to bootlegs and albums makes me think that Bruce was the right pick for the band. That's not knocking Davey as a bass player -- certainly, EC isn't trying to delude himself or his fans into believing that this is the same band, hence the name change to The Imposters -- but I do feel that EC's music is missing a key ingredient in the form of Bruce Thomas.
Being a bassist myself, I can say fom a bassist's point of view that Bruce was the superior bassist. Bruce's style of playing perfectly reflected EC's melodic style and singing, as EC isnt the king of the guitar. Hell, Davey's not a bad player also, but without a doubt, It was Bruce who was teh better.
To be honest, it's really Bruce's playing that got me hooked on EC. For instance, how good is I dont want to go to chelsea? The Beat? Living In Paradise? Goon Squad? Sunday's Best?The imposter? New lace Slee................... You get the point.
To be honest, it's really Bruce's playing that got me hooked on EC. For instance, how good is I dont want to go to chelsea? The Beat? Living In Paradise? Goon Squad? Sunday's Best?The imposter? New lace Slee................... You get the point.
- thepopeofpop
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I've done a little bass playing in my time, and sure Bruce tears strips off almost anybody in rock. I suspect that Elvis is a little suspicious of virtuoso bass players these days, and therefore opted for the earthier, more soulful, Davey. And it's not as if Davey's just plunking out root tones four to the bar, I mean he's pretty good, you know.
Some of Bruce's best moments are very subtle: "Beyond Belief" where he holds one note per chord, which just builds tension to the breaking point, until the last few bars where he totally lets rip and the track ascends to Attractions Heaven.
Some of his licks in certain tracks are priceless: the more or less bass solo at the end of "Home Is Anywhere You Hang Your Head", the neat ascending lick he plays several times near the end of "The Greatest Thing", "Party Girl" which almosts rivals McCartney's work on Sgt. Peppers. I could go on.
As for playing Bruce's more complicated parts - well, I don't know if Davey wants to just be a Bruce clone. "Shabby Doll" can't be that hard - we're talking about the stuff after the last chorus, right? I really like that part, and it's particularly well articulated, but ... Well, I haven't tried it out myself. I'll get back to you
Some of Bruce's best moments are very subtle: "Beyond Belief" where he holds one note per chord, which just builds tension to the breaking point, until the last few bars where he totally lets rip and the track ascends to Attractions Heaven.
Some of his licks in certain tracks are priceless: the more or less bass solo at the end of "Home Is Anywhere You Hang Your Head", the neat ascending lick he plays several times near the end of "The Greatest Thing", "Party Girl" which almosts rivals McCartney's work on Sgt. Peppers. I could go on.
As for playing Bruce's more complicated parts - well, I don't know if Davey wants to just be a Bruce clone. "Shabby Doll" can't be that hard - we're talking about the stuff after the last chorus, right? I really like that part, and it's particularly well articulated, but ... Well, I haven't tried it out myself. I'll get back to you
Spot on!thepopeofpop wrote:I've done a little bass playing in my time, and sure Bruce tears strips off almost anybody in rock. I suspect that Elvis is a little suspicious of virtuoso bass players these days, and therefore opted for the earthier, more soulful, Davey. And it's not as if Davey's just plunking out root tones four to the bar, I mean he's pretty good, you know.
Some of Bruce's best moments are very subtle: "Beyond Belief" where he holds one note per chord, which just builds tension to the breaking point, until the last few bars where he totally lets rip and the track ascends to Attractions Heaven.
Some of his licks in certain tracks are priceless: the more or less bass solo at the end of "Home Is Anywhere You Hang Your Head", the neat ascending lick he plays several times near the end of "The Greatest Thing", "Party Girl" which almosts rivals McCartney's work on Sgt. Peppers. I could go on.
As for playing Bruce's more complicated parts - well, I don't know if Davey wants to just be a Bruce clone. "Shabby Doll" can't be that hard - we're talking about the stuff after the last chorus, right? I really like that part, and it's particularly well articulated, but ... Well, I haven't tried it out myself. I'll get back to you
The deal with Shabby Doll, yeah it runs out and Bruce does this cazy harmonic/slide thing which really gives it that creepy feel. Amazing. Actually, all the Choruses in the song feature harmonics, aswell as the intro to 'You Little Fool'.
To be honest, everytime I listen to (I dont want to go to) Chelsea, from a bass player's point of view, I cant help but ask the question, how on earth could a human write a riff that good. ohh man that song got me hooked on EC...
- thepopeofpop
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Well, he was doing well to upstage Steve Nieve in "Shabby Doll"! I do like the intro to "You Little Fool", in fact when I play that song on acoustic guitar I throw in most of Bruce's licks.Get Happy wrote:The deal with Shabby Doll, yeah it runs out and Bruce does this cazy harmonic/slide thing which really gives it that creepy feel. Amazing. Actually, all the Choruses in the song feature harmonics, aswell as the intro to 'You Little Fool'.
His playing really does fit well with Steve's, now that I think about it, and they both really 'get' Elvis' harmonic ideas and expand on his moods.
- Otis Westinghouse
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Imp Bed strikes me as Bruce's finest hour. The bass all over it seems to stand out as peerless: faultlessly executed and making a huge contribution to the melodic make-up of the song as well as the groove. And very nicely produced, too. Second, perhaps, would be TYM, with the above-mentioned genius of Chelsea a very strong reason why.
There's more to life than books, you know, but not much more