jrmy wrote:D.o.S. wrote:For me, at least, intent always outweighs ability.
Best encapsulation of the central friction in modern music ever.
Yep,

nail on the head. Intent backing up content.
other than that:

Nothing wrong with playing extreme metal and dropping in a sly slap bass lead in there, just to drop the unsuspecting audience's jaw and then kick in the teeth of the doubting Thomas in the front row. Blast beats and distorted slap leads, why not? A bluesy break and a wacky slap fill to kick the brootz back in, why the hell not?
I like slap bass. Nearly as much as I like a distorted guitar. Both have their uses, like screwdrivers and hammers. But not always, because, sometimes people try to work through songs with bad use of fine tools. Meaning: they are just techniques and sounds, and there's nothing to hate in fuzz guitar either, just because a bunch of cunts play fuzz guitar, right? So quit hating, haters.
Jonas Hellborg kicks ass when it's about whackity-whakity. You don't have to agree, but in that case You are proven wrong!

Don't know if I would have ever ventured into basses only projects if it wasn't for him.
What won my heart, already in early 90's, was when he steps on his dirt box and shreds through riffs and licks, instead of pleasing the modern jazz slap bass aficionados. And plays the synth chords for backing shit up with his bass MIDI out. Clearly, guy could just whoppity-whoppity-slap-slappity-fap-fap through the songs like a cunt and make wannabes drool. But he does so much more, playing less.
...the song actually starts at 1:39.
[youtube]http://www.youtube.com/watch?v=IKNSkprZVvo[/youtube]