New Order - Brotherhood FULL ALBUM BASS COVER w/ 1970 Fender Bass vi and 1969 Rickenbacker 4005

Описание: The long-awaited follow up to The Stone Roses full album has been done. I've mentioned before that I learned the entire XTRNMTR Primal Scream album, but that album's production doesn't lend itself to being played live. So, as a massive New Order fan, Brotherhood makes the most sense to play live given the first half's post-punk style as well as the second half's more developed melodies. I'll leave individual thoughts on each song below, as well as time stamps and all gear specifics.

TIME STAMPS:

0:00 Paradise
3:53 Weirdo
7:46 As It Is When It Was
11:33 Broken Promise
15:20 Way of Life
19:27 Bizarre Love Triangle
23:50 All Day Long
29:02 Angel Dust
32:45 Every Little Counts

GEAR:

-1970 Fender Bass VI
-2017 Fender American Elite Precision Bass
-1969 Rickenbacker 4005

-Moog Moogerfogger MF103 12 Stage Phaser
-Electro Harmonix Clone Theory Chorus
-Boss DD8 Digital Delay
-Ampeg SCR Overdrive

-Ampeg PF-500 Amplifier
-Ampeg 2x15 Bass Cabinet

-Arcam FMJ A32 Integrated Amplifier (music audio)
-Klipsch Hersey IV Speaker Cabinets (music audio)

INDIVIDUAL SONGS:

PARADISE:
A personal favorite from the album with great six string and sequenced bass as well as drum tone. I think the 1998 versions with strings (and down a whole step) greatly expanded on the song whereas the guitars don't do much for me. Lastly, Paradise has some very strong hints of Electronic in it, could've easily fit on Twisted Tenderness with slightly updated vocals.

Gear: 6 String bass, Moog, Chorus, and Delay.

WEIRDO:
One that doesn't do much at first but over time grows a lot. Very earnest delivery and melodies and also a very unusual key for New Order (them and JD love D minor and F/C). This one really lets the chorus and delay pedal (the secret ingredient to 80s Hooky tone) work together nicely when sliding up and down the strings.

Gear: P-Bass (active), Moog, Chorus, and Delay.

AS IT IS WHEN IT WAS:
Another personal favorite. This is the only P-bass song where I used it on passive since Hooky used the 6 string Shergold (a passive bass) for this one (but didn't use any B or E string).

Gear: P-Bass (passive), Moog, Chorus, and Delay.

BROKEN PROMISE:
Probably the weakest song on the album. I can't really say Barney or Gillian bring much on guitars beyond the bare minimum. Please excuse the bum fills. I did a few full run throughs and if I had to choose which song to mess up, it would have to be this one (also doing it Hooky style makes it much harder).

Gear:
Gear: P-Bass (active), Moog, Chorus, and Delay.

WAY OF LIFE:
A very tricky song to learn due to the layered basses, so I based this version off of the 1987 Hacienda live version. That G/B chord is a very dissonant sounding chord, but it's clearly what Hooky did live and also he used the same one for Love Will Tear Us Apart. With how they recorded bass, open strings were always tracked separately, so I'd imagine that's why that G is so quiet in both Way of Life and LWTUA. Fan fact: the base bass riff for this song is meant to be Age of Consent backwards. Fun fact part 2: the reggae breakdown is great (and a personal writing and jamming favorite of my band).

Gear: P-Bass (active), Moog, Chorus, and Delay.

BIZARRE LOVE TRIANGLE:

BLT was originally performed in C (instead of Bb) from 1986-1993, and I do prefer that key for the bassline. Also, I play the live solo version that isn't on the record. No delay on this song as I feel the key and recording style don't suit it (although when in C, delay sounds great).

Gear: P-Bass (active), Moog, and Chorus.

ALL DAY LONG:

A hardcore New Order cult favorite, and I can certainly see why. Nice major scale riffing from all involved and it's pretty cool how "out there" the chorus bass goes, like if you listen to the song without bass, it's a completely different chorus (supposedly Barney hated the bass for that). This song fades out very early, so combined with Hooky clearly just riffing for the very last bass parts, my playing at the end is a little bit loose. Lastly, I used a bit of overdrive to help boost the choruses a bit. My P Bass was fairly weak sustain up high and I also only have 45s for the G string (I gig with 50s and sometimes 55s on my Jazz Bass).

Gear: P-Bass (active), Moog, Chorus, Delay, and Overdrive.

ANGEL DUST:

An even deeper cut, and one without much bass on it. I used the hollowbody just to have some fun with letting it feed back during the breaks. Both the Evil Dust remix and the 12" remix are much better versions of this song and I'd recommend anyone who hasn't heard those to check them out.

Gear: P-Bass (active), Moog, Chorus, and Delay.

EVERY LITTLE COUNTS:

My last personal favorite, and the only song on the album to not use any chorus. I feel like every part of it is underrated: the synths, drum beat and acoustic drums, the layered bass during the breaks, etc. Maybe people here the basic bassline and funny lyrics and don't listen closely. Listen closely!

Gear: P-Bass (active), Moog, and Delay.