Скачать с ютуб Omer Plays Bass . . . Kim Carnes - Bette Davis Eyes (bass cover) в хорошем качестве

Omer Plays Bass . . . Kim Carnes - Bette Davis Eyes (bass cover)

Omer Plays Bass . . . Kim Carnes - Bette Davis Eyes (bass cover) Bass by Bryan Garofalo Bass Used in this Video: Dingwall Super PJ Hope you have a look and if you do, don’t forget to click 'Like" and subscribe to the channel After I posted the article for my last video on the L.A. session scene with Randy Newman’s ‘I Love L.A.’ (   • Omer Plays Bass . . . Randy Newman - ...  ), I thought about a few things that resulted in this playalong video for ‘Bette Davis Eyes’ from Kim Carnes, a cool song from 1981 winning two Grammys’ and staying at #1 for nine non-consecutive weeks (five then four of them continuous). First, I am reading “The Gospel According to Luke” the biography of Steve Lukather where he goes through his days in the late ‘70’s to the later ‘80’s as the top L.A. session guitar player while also in Toto, dreaming of how awesome it would have been to be a session player at that time (a dream I long had but as the earlier spoiler indicated – I did not make it). Also, Rick Beato posted videos on “The Real Reason Why Music Is Getting Worse” and "Real Talk on Modern Music" (@RickBeato) and all of this got me thinking about how music is made today versus in the past. Music used to be made by musicians – whether as a band or as an artist with session players in the studio and live - not influencers or people famous for being famous. That seems like a ridiculous boomer statement but in the ‘70s and ‘80s particularly as musicianship became an important criteria in popular music, and in other eras like the musical experimentation in the ‘60s and grunge in the ‘90s, bands and artists produced impactful, artistic and frankly great music. Sure, there was always crap as well, but there were magical studios where magical players (often the favorites of a particular producer who would use a particular space and would call his guys in whenever there was a session) went in, played, did their parts and were off to the next session or track – sometimes 2, 3 or 4 a day. Session players and elite musicians weren’t just for Steely Dan and Boz Scaggs - scour Discogs (www.discogs.com) or All Music (www.allmusic.com) and you see a list of bands and players that basically made popular music in this period. This track, ‘Bette Davis Eyes’ from Kim’s 1981 “Mistaken Identity” album is a great example of this with a bunch of super good session players including guitarists Danny “Kootch” Kortchmar and Waddy Watchtel, drummer Craig Krampf, keyboard player Bill Cuomo and bass player (Canadian) Bryan Garofalo amoung others. This is not a difficult song on any instrument, but it is a well-played song with all the players knowing the right part to play and having the skill to doing it right and fast. The bass part from Garofalo, a very seasoned session bass player, basically follows the synth part but with subtle variations and passing notes, really lifting the synth low-end giving it some life and movement. After Cuomo got the signature synth sound for the opening of the song, the band did 3 takes of the track and the first take WITH NO OVERDUBS is the version on the record. It took me a couple more takes than that to get the part clean and right (hence the spoiler above 😉 This really doesn’t happen today in music where often a producer with ProTools or Logic and Autotune would go in and build the whole track, maybe with a sample, and the singer would come in (with a hefty bit of editing to fix mistakes and autotune to correct) and then they would go away to finish the track. You are not calling in Waddy at double or triple scale to play “chunk chunk chunk” muted string rhythms for 30 seconds at the end of the track any more that is for sure. There are still some great new bands and artists out there (fewer of them but there are some - Foo Fighters, Radiohead, Coldplay, Adele, Green Day, Tool, Audioslave and a bunch of others), but music today seems to be dominated by music as a commodity, fashion, Tik Tok style clips, monotonal or acrobatic vocal performances, hooky, repetitive, short segments that while they may generate lots of streams frankly they often don’t have a lot of originality and certainly isn’t going to spend 972 weeks on Billboard. Disclaimer: I am not saying this is exactly how Bryan Garofalo played this song, but it is how I would play it if I was playing it at a gig. For more bass cover videos by Omer visit: www.omer.com/youtube www.facebook.com/oalkatib www.instagram.com/omer_alkatib www.twitter.com/omeralkatib