I never knew there were two bass parts at once! He does what Tony Iomi does in his solos, he plays two parts that are the same/very similar in places, but then occasionally sends them in different directions and plays two different runs for a different feel. The doubling of the bass track for the majority of the song also adds a cool effect, almost like a delay with a really short time. Genius.
The entire track. It’s easier to distinguish between the 2 bass tracks with a good set of ear buds. Listen closely between 2:36 and 2:46. There are different notes played in the bass runs.
The other thing I hear about this is; One of the bass tracks is much louder in the mix than that second track. The bass track in the foreground has a fatter tone and little to no distortion. The bass track in the background has a distinctive distorted tone. At least that’s what my ears hearing.
It’s one of the main reasons that Sabbath covers almost never sound right compared to the original. Most metal/rock drummers don’t know how to play with swing like Bill, they don’t have any experience playing jazz/blues like Bill did.
I read once about the possibility of why there are 2 bass lines on this track. This may have resulted from the multi track recording process used back then wherein Geezer would've laid down 2 different solos and, during post recording, the band would pick the best one. The result here was they simply left both bass lines on the track, which was frikkin genuis!
Drums are beastly. Billy Ward was one of the best around at the time. His fills on this track were described as “mortar bombs raining down”. Some of the best drumming I’ve heard.
@George Jeffries... You are 100% correct! It’s still an awesome bass & I’m sure you’ve seen him live... Man, he can jam out with the best of them, in my opinion.
This song is really their most epic one imo. Great in all aspects. If you mean that "speeding up" thing at the very end? Well, my guess is its an old tape machine trick speeding it up, others bands at the time did similar effects to their mixes of their songs to give it an interesting end, for example listen to the song Action by the Sweet, the very end where it is slowed down a lot, to a crawl... Pretty cool too, imo!
There is a weird stereo pan feeling in this song. It seems like there's a very small delay between L and R channels, or maybe someone just boosted "side" and kept "mid".
I think it’s on the whole drum track, just easier to hear on sustained cymbals, very cool though, small detail I never would’ve noticed I’m the full mix
@@paulshaum3421 This is the Quadrophonic mix from '73. It does feature a bit different drum sound as well as other sonic attributes compared to the original stereo mix.
Dave Saenz that’s how isolation works in songs that don’t have original recordings of each individual instrument. It can only lower the volume of the vocals and guitar.
@@Rasmos Maybe another possibility is that the song was recorded live in a studio and the little guitar and vocals we can hear are bleeding into the bass/drum mics? I find it hard to believe that you can use a software to suppress single instruments this well and this consistently in a finished mix. But I'm not a pro and if that's indeed how this isolated tracks were created, I wanna know what program was used :)
it sounds like all of the middle was cut out and made mono. You hear the verb on ozzy because that's what happens when you pul out the middle. The phase sounds like ...phase, not a phaser.
The man that accompanied a guitar solo with a base solo.
It's bass dumbass
And somehow managed to compliment all that busyness perfectly with more busyness.
This was relatively common at the time
I never knew there were two bass parts at once! He does what Tony Iomi does in his solos, he plays two parts that are the same/very similar in places, but then occasionally sends them in different directions and plays two different runs for a different feel. The doubling of the bass track for the majority of the song also adds a cool effect, almost like a delay with a really short time. Genius.
even the guy on the cover of the album is duplicating himself
Wow, 2 bass tracks running. That somewhat explains why I could never get a clear picture of what Geezer plays on this.
I only hear one, what part of the song you say it has 2 tracks?
The entire track. It’s easier to distinguish between the 2 bass tracks with a good set of ear buds. Listen closely between 2:36 and 2:46. There are different notes played in the bass runs.
The other thing I hear about this is; One of the bass tracks is much louder in the mix than that second track. The bass track in the foreground has a fatter tone and little to no distortion. The bass track in the background has a distinctive distorted tone. At least that’s what my ears hearing.
It’s a little easier to hear different notes between 3:40 and 4:20, where Geezer is jamming under the lead guitar.
@@georgejeffries3566 I have heard this several times and I just realised you are right, good ear!
I think the slight traces of the guitar & vocals really make this perfect. It's possible to get lost in a lot of bass isolations
Never realized how much this tune actually swings. Butler / Ward genius!
It’s one of the main reasons that Sabbath covers almost never sound right compared to the original. Most metal/rock drummers don’t know how to play with swing like Bill, they don’t have any experience playing jazz/blues like Bill did.
I feel something growing very hard and stiff in my nether regions
I read once about the possibility of why there are 2 bass lines on this track. This may have resulted from the multi track recording process used back then wherein Geezer would've laid down 2 different solos and, during post recording, the band would pick the best one. The result here was they simply left both bass lines on the track, which was frikkin genuis!
Drums are beastly. Billy Ward was one of the best around at the time. His fills on this track were described as “mortar bombs raining down”. Some of the best drumming I’ve heard.
My god I didn’t know geezer was this good
Especially around the end . With the solo
Geezer Butler is a Master of the Pentatonics!
I came for the drums, I stayed because I love this song
The trick to a badass bass presence is two bass tracks.
oh my god how good the bass and drums
2:00
Disgusting
@George Jeffries... You are 100% correct! It’s still an awesome bass & I’m sure you’ve seen him live... Man, he can jam out with the best of them, in my opinion.
Ward and Butler are kings.
By the way are the drums really phased ??
I'm wondering that or if the EQ is causing them to sound phased in this mix.
In 70's rock there's often phaser on the drums, I could be so here aswel.
Drums are phased very light tho
The outro is out of this world!
This song is really their most epic one imo. Great in all aspects. If you mean that "speeding up" thing at the very end? Well, my guess is its an old tape machine trick speeding it up, others bands at the time did similar effects to their mixes of their songs to give it an interesting end, for example listen to the song Action by the Sweet, the very end where it is slowed down a lot, to a crawl... Pretty cool too, imo!
So damn funky
Fuck copyright, I just want to to hear the drums. FeelsBadMan
*B A S S*
There is a weird stereo pan feeling in this song.
It seems like there's a very small delay between L and R channels, or maybe someone just boosted "side" and kept "mid".
phaser on the crash cymbal?! cool detail!
I think it’s on the whole drum track, just easier to hear on sustained cymbals, very cool though, small detail I never would’ve noticed I’m the full mix
@@paulshaum3421 This is the Quadrophonic mix from '73. It does feature a bit different drum sound as well as other sonic attributes compared to the original stereo mix.
I can really hear John Entwhistle in a lot of this.
Stoner Rock: The Beginning
Hi. What pedals are Geezer Butler using ? Thanks
None here.
It’s called turning your amp up all the way
Awesome, wish the vocals were not included though. Cheers!
Bill ward was not human. Geezer wasnt either. They just dont make music like this anymore
Good but why am I hearing both vocals and guitar?
He just lowered some of the frequencies, but he did good job. I got what I came for.
Dave Saenz that’s how isolation works in songs that don’t have original recordings of each individual instrument. It can only lower the volume of the vocals and guitar.
@@Rasmos Maybe another possibility is that the song was recorded live in a studio and the little guitar and vocals we can hear are bleeding into the bass/drum mics? I find it hard to believe that you can use a software to suppress single instruments this well and this consistently in a finished mix. But I'm not a pro and if that's indeed how this isolated tracks were created, I wanna know what program was used :)
On hearing it again, probably I'm wrong, the consistency makes sense if all that was done was radically cut some EQ bands
it sounds like all of the middle was cut out and made mono. You hear the verb on ozzy because that's what happens when you pul out the middle. The phase sounds like ...phase, not a phaser.
1:45