The official NMA board
General Category => New Model Army => Topic started by: Guillaume on October 18, 2013, 06:55:55 PM
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I'm not a musican myself, i don't know how to practice bass, guitar or drums, so i'm curious to read your thoughts if there are some musicians, guitar, bass players or drummers on this board...
according to you, which are the most impressive, complicated, difficult music bits to play in the whole NMA's discography?
Ceri is certainly great onstage aswell, but I always loved watching Nelson aswell. His playing is absolutely top of the range, Nelson's bass lines have a smooth, natural feel to them that makes the most technical passages seem obvious. It's very deceptive, trust me, Nelson is a master of his instrument and technically at least as good as Stuart's more raw visceral attack....... The last 3 albums have some truly outstanding bass lines on by anyone's standards. Ceri has some very big shoes to fill, BDAW is a fine start no question, but Carnival, High and Today Is A Good Day stand up in bass lines easily in my listening any ways as a player aswell as a fan..........
To my fan ears (and not musician ears ;)), some of the bass parts that seem impressive to me:
"Christian Militia"
"The Price"
"No rest"
"Stupid questions"
"White coats" (intro)
"Leeds road 3AM"
"BD3"
"Another imperial day"
"Island" (last part)
"Peace is only"
"Disappeared"
"Arm yourselves and run"
"North star"
"Seven times" (last part)
"I need more time"
...
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Best --
Bass - Running in the rain
Drums - Sex, the black Angel
Electric Guitar - Southwest
Acoustic Guitar - Family Life
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couldn't agree more about Nelsons playing
fav has to be island (but the albums you mentioned above are all as you said)
with that said though i do look forward to hearing what Ceri makes of an album where he can let lose as it where, nice parts to Seven Times.
No offence to Ceri but i will always wonder what Nelson would have done as he is a favourite musician of mine
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I saw this thread earlier, and don't want to rush straight in with obvious answers..... Sometimes what seems a simple bass or guitar part has odd time signatures or changes out of the normal expected pattern which will make playing them awkward and easy to make a mistake. What would normally be a 4 bar repeating pattern will have a subtle change on the 3rd bar, or a strange out of time pause....... NMA have more often than not avoided standard 4 bar/12 bar passages it seems to me...... Unorthodox is a word often used.
Songs like Island, or Breathing have some lovely bass parts. I love stuff like KNIFE and Today Is A Good Day, real direct, attacking bass patterns. Get Me Out is a really easy one go at, suits my style of playing I thing anyways.......... A personal favourite of Nelson's tenure will always be Space. Not overly complicated, but subtle and clever tones make it work.
Moose played some really nice bass lines aswell, White Coats throbbing bass line works perfectly, stolen from a slot machine or not in mid section. I would have loved a go at The World, the bass on that is nice n aggressive.
Stuart's basslines are something else again as has been said a million times. No Rest obviously bass solo greatness, Ambition again is a no brainer as a stand out,Grandmother's Footsteps, Heroin, Great Expectaions is a great big northern soul bass line, very clipped and taut but the bassline is 3/4's of the song. Christian Militia is a punishing assault on the bass players left hand no doubts...... In truth the first 2 lp's would not sound anything like they do with any other bass player, same for Smalltown England..... Different game entirely..... Hats off to Moose for stepping in and in 5 weeks being on the road........ His contribution can't ever be played down for that alone......
Things like Rob's graceful sweeping intro to Green And Grey are not for for beginners, and I refuse to sully it with any attempt.
That said I taught myself Sleepwalking years ago and love that instrumental SO MUCH!!!!!! It was played to me on my guitar by the man who wrote it and is a memory I'll cherish til my dying day........
Justin's guitar, especially his finger picking his become something pretty special over the last 33 years, he says himself he's a song writer who surrounds himself with more capable players, be he's no slouch. Marrakesh is a perfect guitar/vocal ballad, as is Love Songs before it....... Kneivel sits in that frame aswell.......
Marshall is a force of nature........... I don't even NEED to say any more......
Dean's guitar playing on the Jez n Dean gigs is pretty impressive aswell..... He does some pretty interesting and dynamic things with the full electric sounds to make them work as a duo.
Dave always did solid stuff and his best playing for me, is probably on Carnival strangely enough.
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Stoney, when I saw this thread go up, I knew you would come up with a more insightful response than my little retort , what with you being a guitar twanger yourself. Good oh, keep em coming. :)
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Stoney, when I saw this thread go up, I knew you would come up with a more insightful response than my little retort , what with you being a guitar twanger yourself. Good oh, keep em coming. :)
Cheers n beers to you mate. Like I say, I wasn't goin to run blindly in with "NO REST is the best thing since sliced bread....." or "Ceri's solo on seven Times runs rings round everyone ever..." ...... There's no right answer, but those two certainly aren't it....
Running In The Rain is not a huge NMA track really, but the bass on it is IMMENSE!!!!!!!!!! All raw, un-tutoured talent on Stuart's part. Nelson's playing is much more measured, but equally of the chart, just more cerebral and less visceral. But then Stuart was in his early twenties, his playing now would be totally different. I'd love to get him off the bench so to speak and do something, just to learn from him if nothing else....... It might happen yet, we aren't dead or crippled are we?
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Yep, Running in the Rain, I can not think of any other song where the instrumental break is the base player doing his bit, then the echo, followed into guitar, Absolutely love that part of the song, its what make it a fave for me.
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Therre's a bunch of NMA songs with bass solo's, especially the Stuart era........ No Man's Land is another Highlight. The Great Expations bas line really is class.
I don't think he even realised how many things he was doing musically. Chromatically, Octaves, runs, discordant lines....... Palm muting and the Sex (the Black Angel) trick on n on on.........
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A personall favourite of Nelson's tenure will always be Space. Not overly complicated, but sublte and clever tones make it work.
now you mention it there are some crackin' bass parts on the purity album
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Dean's guitar playing on the Jez n Dean gigs is pretty impressive aswell..... He does some pretty interesting and dynamic things with the full electric sounds to make them work as a duo.
Dave always did solid stuff and his best playing for me, is probably on Carnival strangely enough.
I really like what Dean White brings to NMA's guitars but Dave Blomberg was probably my fav NMA guitarist..."Big guitars and Little Europe" ("Modern times"?)..."Aimless desire"..."Killing"..."No pain"..."Snelsmore wood"..."Falling"..."Burning season"..."Rumour and rapture"...
Marshall is fine on albums (and subtly restrained on the last album) but a bit more "overacting" live...
In all cases NMA is above all things a "Drums, bass and voice" band, so... ;)
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I wouldn't say Marshall "overacts" on stage, his mannerism aren't false looking, he comes accross as purely being in the moment, that's different to me. Some one can do all the Pete Townsend windmill's in the world, but HE DOES them...... He looks right doin' it, it's a purely natural move for him to express his attack on the instrument. When Marsh's is punchin' the body of the Les Paul he IS hitting it, not making it look like he is...... I do all sorts of things when I play, but none of it is some "act", it would look false and be pointless......
The first time I saw Marshall in NMA on the Carnival Tour he "looked" right, the stage is a place he SHOULD be. If you understand what I mean? It's his natural element, where he belongs. With his Les Paul, or now with the Gretsch. There are some people who just fit their instrument, and from watching, Rob, Stuart (in LOUD I admit), Nelson and Marshall and Michael are people like that. What they do looks and sounds natural, instinctive n not forced in any way. It's what they do, I imagine in the practice room the hit the strings/skins n cymbals just as hard as on stage.
Just how they come accross to me, no half measures, all or nothing.
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I think the most impressive part of all the musicians in NMA is that they always play what's appropriate for the song. There are dozens of outstanding performances on every album but they're never about showing off, it's always about elevating the song to a new level. To me, that's the sign of a really great player... they put song above their ego.
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Exactly........... Very little "over playing" in the NMA song collection.......... If any.........
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I wouldn't say Marshall "overacts" on stasge, his mannerism aren't false looking, he comes accross as purely being in the moment, that's different to me. Some one can do all the Pete Townsend windmill's in the world, but HE DOES them...... He looks right doin' it, it's a purely natural move for him to express his attack on the instrument. When Marsh's is punchin' the body of the Les Paul he IS hitting it, not making it look like he is...... I do all sorts of things when I play, but none of it is some "act", it would look false and be pointless......
I think that Dave's playing was a bit more "subtle", less in your face, less loud...but again i think it works rather well on the albums, even if for me NMA is above all a rythmic band, drums and bass above all.
There are dozens of outstanding performances on every album but they're never about showing off, it's always about elevating the song to a new level.
i agree, it's all about the craftmanship, how to make a good song, above all, not wasting time on making empty virtuoso guitar soli for example.
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Exactly........... Very little "over playing" in the NMA song collection.......... If any.........
There's overplaying to "look cool" and overplaying "tongue in cheek"
Used to love seeing Nelson do the Jimi Hendrix"playing with his teeth bit.Can't remember what song tho :-[
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Best --
Bass - Running in the rain
Drums - Sex, the black Angel
Electric Guitar - Southwest
Acoustic Guitar - Family Life
Bass - Space
Drums - Too Close To The Sun
Electric Guitar - Today Is A Good Day
Acoustic guitar - yeah, as Shush said, Family Life
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Some NMA bass and guitar tabs available here:
http://gvelay.free.fr/gta/index.html?nma/index.html
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Charge
Bass and drumming work in a shuffle rhythm is not so easy. Shuffle`s a way too challenging rhythm to play to any of the players in general, although widely used. (You preferably laugh at this but it`s like chick-a-chicka-ti-ticca repeatedly ;)). Family is also a difficult one with a combination of triol (1/3) and basic beat rhythms (1/8). Drums and everything else goes in 1/8 but bass goes in 1/3 thythm. They fit together at every third hit. So what it means is: every third hit with a bass matches with every hit within 1/8 structure. --> Bass is not double faster but 1 to 3 times faster... (I haven´t ever tried to explain these in English so please forgive me + I quited my drumming school in -92 :-X.)
Aimless Desire
Blomberg`s work is great here. I`m ashamed to tell I`ve lately understood how clever guitarist he is!
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But also now when BDAW was released later than this topic was created, it`s interesting to take a close look at it:
Bass: just think about Pull The Sun and Ceri`s creativity!
Guitar: Knievel & Lean Back and Fall - most(?) of us have seen them live, and I think Marshall`s work there is unbelievable! At November`s London gig it seemed at the end of Knievel that Marsh' wouldn`t want to stop playing it. It somehow gave even some more depth to its ending.
Drums: Ghosts & Storm Clouds - I like very much Michael`s clever talent to play like a metronome, it`s like a strick order which never fails whatever he is doing. And still, there's following with others; going softier at times, making changes with intensity, and bashing the cans with a strength if the song just needs it to be done. Even though Ghosts is not a hard line headbanger`s choice, the drums HAVE to be brutal and primitive there in a way there are.
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Don't know much musically, but I have always thought the EMI remasters best served the drumming on Ghost of Cain. It just sounds so effing good now.
Also, I am a huge fan of the drumming on White Coats, especially the snare rolls.
And I can't help but whistle the acoustic guitars on Love Songs. An all around amazing song to me, one of my first favorites. Oh, and the acoustic/electric guitar interplay on Master Race, of course.
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Also, I am a huge fan of the drumming on White Coats, especially the snare rolls.
...the bass line in White Coats is a killer, quite simple but very effective! One of the best Basslines ever put on a rock record!
NMA a "free wonderland" for bassplayers as it based on drums and bass. Listen to vengeance, there is nearly no guitar in the whole record. That makes it really hard for the lead guitar! But Marshall does a great job, playing singel notes, doing bendings and all thet stuff!
Listening to THE WHO quite often in the last mounth I see quite a lot of parallels in the "structure" arrangement of NMA. NMA is more "solid work" in NMA songs (see Moon and Entwistle) but Island is an example how close it gets to THE WHO.
It is really hard for me to "judge" NMA´s music. I´m a bass player for over 25 years now and every time I get to a point in songwiriting or arragement or basslines where I stuck I think: mmh, what would Hendrix, Entwistle, Rave etc. AND NMA do to slove it. NMA is such a "intelligent band" in writing music...it`s always great to explore them again and again!
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If we are talking bass as the initial question asked both stewart morrow albums are technically the most difficult, and vengeance in particular contains some double speed acrobatic stuff that even those top "muso bass players" you read about in "guitarist" would struggle with, im a musician and guitar teacher and after 30 years i still cant master it all! great thing about nma is that most of the music and rythmns are complex but they still sound exciting, cool and very un-muso like.
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Many great bass lines in the Stuart Morrow era, for sure!
I especially love the moody "The Price", also "1984", "Waiting", "Vengeance", "Frightened", "Grandmother's footsteps", "No man's land", etc
Agree about "White coats", also "Ballad of bodmin pill", cracking tune!
One of my favourite bass lines from the 80's, non NMA:
http://www.youtube.com/watch?v=izdhucl1AFg
im a musician and guitar teacher and after 30 years i still cant master it all!
Which are your favourite guitar parts in NMA's discography?
I think the most impressive part of all the musicians in NMA is that they always play what's appropriate for the song. There are dozens of outstanding performances on every album but they're never about showing off, it's always about elevating the song to a new level. To me, that's the sign of a really great player... they put song above their ego.
Yes, for example there are very few guitar soli in NMA but the very few are often pretty good!...i like the "living in the rose" solo, also the guitar ending of "States Radio", "Western dream", the wandering solo of "North star" isn"t bad too.
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Favourite guitar parts, for solos its gotta be bad old world, fate and the charge, all dead simple and easy to play but absolutely killer, and riffwise the slayeresque stormclouds( although i wish they'd mixed it in heavier after the 1st chorus) and today is a good day, you can probally tell i have a liking for heavy rock, but i still love the more stripped down intro to family and the delicacy of the purity guitaring(again which i cant play fully yet!)
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There are few terms how professional drummers tend to describe each others drumming style.
Some might be f.e. airial, floating, elemental, tight, edgy and so on. I know there was an thread here in the forum about NMA drummers and there were some comparison with Michael Dean's and Rob Heaton's style. I think it's perhaps not needed to compare them too much, because their styles are/were clearly different. But it was also interesting to find out from the Q&A sessions as well, that there was a time when Heaton was still alive and showed or "teached" to Mr. Dean the way he played the songs. But in general I'd describe Michael Dean's style as a bit more edgy and tighter than Heaton's, while Heaton had a combination about airial improvisation, primitive rhythm parts, with a sort of brutal hint especially in the old -85 era.
[...] the wandering solo of "North star" isn"t bad too.
It's probably the thing with Marshall Gill's own playing style. Some tricks that are similar with the way he plays in "Attack", "Knievel" and "Lean Back & Fall". Like an old school western/ souther rock style which fits perfectly with NMA in general. Would really like to hear even once in my life how would he play in "Young, Gifted & Skint"!
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Stoney, when I saw this thread go up, I knew you would come up with a more insightful response than my little retort , what with you being a guitar twanger yourself. Good oh, keep em coming. :)
Cheers n beers to you mate. Like I say, I wasn't goin to run blindly in with "NO REST is the best thing since sliced bread....." or "Ceri's solo on seven Times runs rings round everyone ever..." ...... There's no right answer, but those two certainly aren't it....
Running In The Rain is not a huge NMA track really, but the bass on it is IMMENSE!!!!!!!!!! All raw, un-tutoured talent on Stuart's part. Nelson's playing is much more measured, but equally of the chart, just more cerebral and less visceral. But then Stuart was in his early twenties, his playing now would be totally different. I'd love to get him off the bench so to speak and do something, just to learn from him if nothing else....... It might happen yet, we aren't dead or crippled are we?
Well said :)
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Bass:
"Frightened" - the bassline is one of the greatest things I have ever heard in music. Totally serious on that. Been listening to that bass for thirty years and I really still marvel over every note of it. My fave section is how Morrow leads us out of the "won't you love me" section. Can hear it better on the BBC sessions version, and it is just wonderful. I know certain artist can be light years beyond others when it comes to talent...Morrow on bass is one of those. His work on "Frightened" is the "King Lear" of bass.
"Space" - new bassist for NMA? Noooooo! Well, the work on "Space" is Morrow-like. Not as muscular, but very intricate and surprising in how it moves. The transitions out of the "visions rise from each little death" is beyond brilliant.
Guitar:
"Western Dream" - Great intro lick, best guitar solo out of all the NMA songs, and the guitar stabs during the bridges ("watch the dirty hands that labored hard for you...") are simply astonishing. (I have been trying for 25 years to figure out how he plays them. No luck.)
Acoustic Guitar:
"Seven Times" - the guitar is treated with something (chorus pedals?) and it sure is a great tone. Simple repetitive strums. Draws you in and hooks you. Can't let go of that song because of that guitar.
Drums:
"Frightened" - I read that the band was unhappy with the production, but why? The drums on "Frightened" are the closest to replicating an earthquake.
Keyboards:
"Fireworks Night" - I suppose it is keyboards doing it, but those final mournful orchestral moments after "Fireworks Night" ends are so sad. They add a finallity that breaks the heart. I wish the band never added them. They really hurt everytime I hear them.
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"Fireworks Night" - I suppose it is keyboards doing it, but those final mournful orchestral moments after "Fireworks Night" ends are so sad. They add a finallity that breaks the heart. I wish the band never added them. They really hurt everytime I hear them.
Perfect words dude - nice :)
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Bass:
"Frightened" - the bassline is one of the greatest things I have ever heard in music. Totally serious on that. Been listening to that bass for thirty years and I really still marvel over every note of it. My fave section is how Morrow leads us out of the "won't you love me" section. Can hear it better on the BBC sessions version, and it is just wonderful. I know certain artist can be light years beyond others when it comes to talent...Morrow on bass is one of those. His work on "Frightened" is the "King Lear" of bass.
Drums:
"Frightened" - I read that the band was unhappy with the production, but why? The drums on "Frightened" are the closest to replicating an earthquake.
I just love the bass/drums opening of "Frightened", and it's even better on the "Radio Sessions" live album!!
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In full agreement chaps. The start of "Frightened", fist class. Then the powerful drums. A similar start to follow with "Ambition". The base line in the brake in "Grandmother's footsteps". The acoustic guitar intro to "Drag it down, picked up by the classic Morrow bass line. A wonderful album from start to finish.
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No Rest - A wonderful album from start to finish.
My memory could be off, but I do recall reading that the band was very unhappy with the production -- going for the BIG sound that was the trademark of Steve Lillywhite at that time. Anyone remember this being so?
I love that production. Drums sound like cannons, bass BOOMS, reverby... Perfectly suits the songs that NMA were making at that time.
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I love the heart breaking keyboards in the end of Fireworks Night. Although I can see what you meant by its emotions it awakes. Depending on the name of the song I can see the ending like well; fireworks, distant ones. It's like a time that passes by. Some memories and moments that might stay in your mind. Was it a good year or not... How many of them could fit on your life...
There I go again. Deep hearted. ;)
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I liked all the tribal sounding drumming on "Dog and Wolf". In fact musically the whole album was an accomplishment.
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Guitar:
"Western Dream" - Great intro lick, best guitar solo out of all the NMA songs, and the guitar stabs during the bridges ("watch the dirty hands that labored hard for you...") are simply astonishing. (I have been trying for 25 years to figure out how he plays them. No luck.)
It's a great song, unfortunately not often played live :'(
The bass and drums work on this song is also thrilling!
Now, which are your favourite guitar, bass and drums parts on the last album WINTER? :) ;)
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For the bass part i go for Beginning as a must no.1. this whole track is such a blast, this distortet grim melancholic bass opens the album, makes a statement and goes on calm and somehow stoic until the breakout, wild uncontrolled final. also the track for best drums, but as always is difficult to say. to come back to the bass, at first winter came to my mind and also weak and strong, so i would pick these three.
born ferals dreamlike trance percussion drum part is a big favourite. i also like the driving eyes get used to the darkness, just feels like no rest and i'm not sure if this could be even intentional. it's really hard to pick, the whole drum-rhythm-bass section is so well coordinated and layerd, such a beauty to listen to.
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Guitar:
"Western Dream" - Great intro lick, best guitar solo out of all the NMA songs, and the guitar stabs during the bridges ("watch the dirty hands that labored hard for you...") are simply astonishing. (I have been trying for 25 years to figure out how he plays them. No luck.)
It's a great song, unfortunately not often played live :'(
The bass and drums work on this song is also thrilling!
Now, which are your favourite guitar, bass and drums parts on the last album WINTER? :) ;)
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Yeah, I have to agree with Guilliame and Space on this one. "Western Dream" is thee best NMA song. Both lyrically and musically it towers above all others. Sure other tunes have great lyrics ("Better Than Them"), but musically they are simplistic. On the other hand there are NMA tunes with fantastic musical chops in them (the whole "Dog and Wolf" album), but the lyrics are pretty lame ("Evel Knievel").
"Western Dream" is about as great as it gets. And, like Space, I too have been trying for 25 years to properly play those guitar stabs (the ones behind "stretching out like children..." "I wish we could find another way to go"...). Man, are they cool. They ascend. I know they are some sort of double-stops...I just can't get them nor the tone right. They are brilliant touches added to an already brilliant song.
As for "Winter," I haven't even listened to it, yet. I am saving it. Like a treasure that I will discover years from now.
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Michael Dean is retiring :'( :'( :'(...here's NMA new drummer!!:
https://www.youtube.com/watch?v=kejHWH_6OvU
8)
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Really hard to choose, with such quantity of amazing instrumental parts, but I wouldn't actually concentrate on what is hardest to play but on what for me is most interesting to hear in terms of instrumental arrangements:
I am a bassist, I toy a bit with acoustic guitar and sing, but bass is my basic instrument.
Basslines have been such an important driving force in NMA's music that I think they are one of the most bass-driven bands I know of. And for that I think the most deserving person is Stuart Morrow, 'cause he set it up as a standard and whoever came later had some enormous shoes to fill. I wouldn't go far in trying to explain to a non-musician his technique, but those of you who do play, especially, bass, will understand what I mean when I say this: to me he stands so high in what he does with pick-playing as Jaco does in terms of fingerpicking!
Now, as for the single bass line that stands out I really don't know... It's the whole style that he brought, the position of the bass in the soundscape... From Betcha on, through Running in the Rain, Notice me, Smalltown England, Christian Militia, Vengeance... I love and respect all other bassists that came later, Moose - the whole T&C, my favourite album, White Coats, The Charge, what can one say... Nelson - Listen to Here Comes The War, One of the Chosen, Rivers, Brother... Ceri - Strogoula, The Weather...
As for drums, they are always great, but what will always stay my favourite drum tracks are Rob's Inheritance, Here Comes The War, Ballad of Bodmin Pill, Green and Grey, 125 mph and Michael's Wonderful way to go...
Acoustic guitar: Green and Grey, Higher Wall, Family Life...
Electric Guitar: many different small touches scattered all over... Intro on Archway Towers, the whole Love of Hopeless Causes, with Bad Old World at the top...
Violin on Vagabonds
Keyboards on Nothing Touches...
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If you want to play like Stuart Morrow, Moose or Nelson, here are some nice NMA bass covers on Youtube...:
"Ambition":
https://www.youtube.com/watch?v=jhwinDlG36Y&ab_channel=JonBoyes
"No rest":
https://www.youtube.com/watch?v=qWOdQ1QRYcI&ab_channel=JonBoyes
"Frightened":
https://www.youtube.com/watch?v=SNEJe_KvC3g&ab_channel=JonBoyes
"No man's land":
https://www.youtube.com/watch?v=H7Ya93LXdcU&ab_channel=MrToonfish
"Headlights":
https://www.youtube.com/watch?v=-0yxEF0qqsE&ab_channel=BassGuitarAVALANCHE
"Poison street":
https://www.youtube.com/watch?v=9IQWTUtN1HA&ab_channel=GilBassmusic
"Christian Militia":
https://www.youtube.com/watch?v=EuaF2cElJI0&ab_channel=FASTERTHANLIGHT
'The price":
https://www.youtube.com/watch?v=RksBb06mgDY&ab_channel=FASTERTHANLIGHT
"225":
https://www.youtube.com/watch?v=4KgjmcgYL3I&ab_channel=GT500BASS
"Here comes the war":
https://www.youtube.com/watch?v=ezvmOkXWVh0&ab_channel=MichaelBoylan
"Vengeance":
https://www.youtube.com/watch?v=aPEHcXcFbv8&ab_channel=GT500BASS
"Purity":
https://www.youtube.com/watch?v=i6vvEofwp4k&ab_channel=GT500BASS
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I always thought the closer the band plays towards straight white blues, the lesser their sound becomes but one of things I love about New Model Army most is the way whoever comes into the band begins to play differently to the way they may have played before
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"Christian Militia" drum cover:
https://www.youtube.com/watch?v=_DUZasBZwQM&ab_channel=VEDrumcover
"Believe it" bass cover:
https://www.youtube.com/watch?v=R6UsnGwlZmo&ab_channel=AstroCortex
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As a bass player there are some great bass parts in a lot of their albums I love the bass playing on Stupid Questions, Fate, Sunset, Sunrise just to name a few. 8)
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Up! :)
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Best --
Bass - Running in the rain
Drums - Sex, the black Angel
Electric Guitar - Southwest
Acoustic Guitar - Family Life
I'll stick to my original choice
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An "UP" because I also forgot to add...: the best vocal/singing parts and the best keyboard/synth parts: 8)
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The Attack
Decent bit of guitar playing. Someone, who's pretty good too, giving the old drums a bit of a work out.
Not a musician. But I do like to listen to that song. Preferably loud and in darkness.
Cheers
Matt
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The Attack
Decent bit of guitar playing. Someone, who's pretty good too, giving the old drums a bit of a work out.
Not a musician. But I do like to listen to that song. Preferably loud and in darkness.
Cheers
Matt
It's a fantastic song, so atmospheric, haunting, maybe one of NMA's best acoustic track. My favourite song on NRFTWi, think.
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The Attack
Decent bit of guitar playing. Someone, who's pretty good too, giving the old drums a bit of a work out.
Not a musician. But I do like to listen to that song. Preferably loud and in darkness.
Cheers
Matt
It's a fantastic song, so atmospheric, haunting, maybe one of NMA's best acoustic track. My favourite song on NRFTWi, think.
Agreed.
My response might belong on another thread here. But can anyone recall the last time it was played 'live?
Matt
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Drumming is great on "Legend"!
Also the bass line of "I did nothing wrong" is pretty good!
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The bass in "Deserters" is ridiculously good from start to finish..it's got similarities with "Running in the rain"..but kind of an updated hybrid version with abit of Nelsons influence from "island" (one of his finest moments)...at the same time it has Ceri's authentic stamp on it which has been firmly displayed all over this album with the bass heavy mix.
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The bass in "Deserters" is ridiculously good from start to finish..it's got similarities with "Running in the rain"..
The bass in "Deserters" and "Do you really want to go there?" is also influenced by Nelson's playing in "Disappeared", it seems.