Favorite Songs Where Mikey Shines on Bass
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    Default Favorite Songs Where Mikey Shines on Bass

    Sometimes I listen to VHII and I hear Mikey just killing it. It seems Mike had a lot more freedom to really bring it on the earlier albums. He really stands out to me on VHII , but there are a lot of songs on the 6 Pack where he really brings it (not to mention his live performances on the early stuff had some great chordal things going on).

    He really stands out to me on VHII (IMHO), but here are some of my favorites:

    The intro on “You're no Good” has always been one of my favorites.

    The fills he does on LUTS are incredible, and that descending lick he and Ed do on the intro is amazing.

    The bass intros on “Push Comes to Shove” and “So This is Love” are second to none. Huge part of the VH appeal in those days to me.

    “Everybody Wants Some” has a Great bass presence and another one of my favorites from Mike.

    What are your favorite contributions from Mike?
    Last edited by ScottyBHarris; 10.07.18 at 02:27 PM.

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    Fools. For bass and vocals.

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    Bass Solo/Sunday Afternoon In the Park on Live: RHRN.


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    In A Simple Rhyme has cool bass parts.
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    Quote Originally Posted by ScottyBHarris View Post
    Sometimes I listen to VHII and I hear Mikey just killing it. It seems Mike had a lot more freedom to really bring it on the earlier albums. He really stands out to me on VHII , but there are a lot of songs on the 6 Pack where he really brings it (not to mention his live performances on the early stuff had some great chordal things going on).

    He really stands out to me on VHII (IMHO), but here are some of my favorites:

    The intro on “You're no Good” has always been one of my favorites.

    The fills he does on LUTS are incredible, and that descending lick he and Ed do on the intro is amazing.

    The bass intros on “Push Comes to Shove” and “So This is Love” are second to none. Huge part of the VH appeal in those days to me.

    “Everybody Wants Some” has a Great bass presence and another one of my favorites from Mike.

    What are your favorite contributions from Mike?
    All of those are great. I'd also include the harmonics on "Dirty Movies", Fools, In A Simple Rhyme, Secrets, Romeo Delight, and Loss Of Control off the top of my head.

    For me, WACF is the album where he really shines the most, both his playing and vocally.

    Also, the extended jams the band did during YRGM on the recent unearthed soundboard recordings of Tuscon Oct 2nd, 1979 and San Diego Oct 6th, 1979 he does the trippiest playing I've ever heard him do. It sounds like the kind of stuff one would expect from Billy Sheehan, and it's awesome. None of that boring, repetitive riding the root 8th notes on the early tours that he was relegated to during the Sam years.

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    I would go with lots of stuff from VHII as well. From the bass solo to open the album (?!) to the very prominent and melodic parts he added to LUTS and Beautiful Girls.

    Mike's bass is one of the reason I like the first 4 albums so much. I got the sense he was being forced into 8th note hell by DD. That can work great on the right song, but it can make a song boring if that's all you do.

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    Quote Originally Posted by Harpospoke View Post
    I would go with lots of stuff from VHII as well. From the bass solo to open the album (?!) to the very prominent and melodic parts he added to LUTS and Beautiful Girls.

    Mike's bass is one of the reason I like the first 4 albums so much. I got the sense he was being forced into 8th note hell by DD. That can work great on the right song, but it can make a song boring if that's all you do.
    Only an insecure musician would tell another musician "only do this".

    Can you imagine Page telling Jonesy to only play 8th notes?

    Oh well....let's blame it on Ted instead so nobody gets their thongs in a bunch.

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    Quote Originally Posted by CaboChris View Post
    Only an insecure musician would tell another musician "only do this".

    Can you imagine Page telling Jonesy to only play 8th notes?

    Oh well....let's blame it on Ted instead so nobody gets their thongs in a bunch.
    Depends on the type of band and whose vision is being followed. For instance, a band like The Dead, or Phish (or even the ABB at times), it is a true jam collaboration where everyone is given room to improvise. For a band looking for a specific sound, to realize 1 or 2 people's vision of how the song should sound and be constructed, not so much.

    I'd wager that whoever had the idea for the song in LZ, would provide musical direction to the others. I'd even say that Jones told Page what his idea was for "All My Love", and Page played what fit the song.

    So, I don't think Ed would have been out of line to tell Mike what to play on certain (or most) of their songs, since he and whoever was singing were the creative team, and envisioned the song.

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    Quote Originally Posted by Rokgtar View Post
    Depends on the type of band and whose vision is being followed. For instance, a band like The Dead, or Phish (or even the ABB at times), it is a true jam collaboration where everyone is given room to improvise. For a band looking for a specific sound, to realize 1 or 2 people's vision of how the song should sound and be constructed, not so much.

    I'd wager that whoever had the idea for the song in LZ, would provide musical direction to the others. I'd even say that Jones told Page what his idea was for "All My Love", and Page played what fit the song.

    So, I don't think Ed would have been out of line to tell Mike what to play on certain (or most) of their songs, since he and whoever was singing were the creative team, and envisioned the song.
    C'mon man! Let me be me.

    No need to inject logic into this.

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    Let's not forget about his amazing bass solo that started it all at the beginning of Runnin' With The Devil.
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    If you listen to the WB demos it is clear that Mike was allowed a lot more freedom by the band before they were signed.

    I'm not going to absolve Ed of guilt for turning Mike into Mr. 8th note but it is clear to me that Ted planted that seed because I like the bass playing on the demos more than what ended up on the albums.
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    I liked the bass groove, simple as it might've been, under the outro guitar solo in Don't Tell Me (What Love Can Do). Very effective.

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    Quote Originally Posted by Get The Show On The Road View Post
    If you listen to the WB demos it is clear that Mike was allowed a lot more freedom by the band before they were signed.

    I'm not going to absolve Ed of guilt for turning Mike into Mr. 8th note but it is clear to me that Ted planted that seed because I like the bass playing on the demos more than what ended up on the albums.
    Should a producer be able to have that kind of say so? If I'm a musician, and someone tells me to not play the way I play do or feel in that moment. That's some bullshit imo.

    Maybe I don't understand the role of a studio music producer.

    Would Templeman have ever told Ed to dumb down his playing or even Al?

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    For me, Mike was at his best Bass-wise & vocally on all of WACF.
    He's finest moment is definitely IASR.

    I also really love his work on VHII, and his furious riffing during the outro to
    "Mean Street" is really tight & powerful.
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    Quote Originally Posted by CaboChris View Post
    Should a producer be able to have that kind of say so? If I'm a musician, and someone tells me to not play the way I play co or deal in that moment. That's some bullshit imo.

    Maybe I don't understand the role of a studio music producer.

    Would Templeman have ever told Ed to dumb down his playing or even Al?
    A good producer like Ted or Mutt Lange, DEFINITELY should have a major say.

    Listen to Demo Daze, then listen to the same songs on WACF.
    Ted was a big factor, all around.

    "Highway to Hell" with 'DC, is another scenario where producer trimmed the fat
    and got everyone on point.
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