BASSIST DISCOGRAPHY


The Official Bryan Beller Bassist Discography

Year Title Artist
2019 Scenes From The Flood Bryan Beller
2019 Godzilla: King Of The Monsters (Original Motion Picture Soundtrack) Bear McCreary
2019 You Know What…? The Aristocrats
2018 Reality Is My Play Thing Phi Yaan-Zek
2017 Galaktikon II: Become The Storm Brendon Small
2017 Ontology Technopath
2016 The Star You Are Prog Rock Orchestra
2016 Scambot 2 Mike Keneally
2016 Remarkably Human Nick Johnston
2016 Supernova Remix Joe Satriani
2015 Culture Clash Live The Aristocrats
2015 Secret Show: Live In Osaka The Aristocrats
2015 Tres Caballeros The Aristocrats
2015 Shockwave Supernova Joe Satriani
2015 On Jane Getter
2015 The Quest For The 100th Monkey Paperclip Scientists
2014 Reincarnation Brian Maillard
2014 Under Grand Suggestion Dane Runyon
2014 A Matter Of Perception Nili Brosh
2014 Atomic Mind Nick Johnston
2013 Wing Beat Elastic Mike Keneally
2013 The Adventures Of Dr. Mumbai Dr. Mumbai
2013 Culture Clash The Aristocrats
2013 You Must Be This Tall Mike Keneally
2013 Hemmed by Light, Shaped By Darkness Ephel Duath
2013 Metalocalypse: The Doomstar Requiem Dethklok
2012 Mastering Tone And Versatility (Instr. DVD) Bryan Beller
2012 Brendon Small’s Galaktikon Brendon Small
2012 Wing Beat Fantastic Mike Keneally
2012 Deeper With The Anima Phi-Yaan Zek
2012 Dethalbum III Dethklok
2012 Broken Jason Sadites
2012 BOING, We’ll Do It Live! The Aristocrats At Alvas Showroom The Aristocrats
2011 Microscopic Razl
2011 Wednesday Night Live (CD/DVD) Bryan Beller
2011 Nothing Clever Colin Keenan
2011 The Essential Steve Vai Steve Vai
2011 bakin’ @ the potato! Mike Keneally
2011 The Aristocrats The Aristocrats
2011 Live At The White House Kira Small & Bryan Beller
2011 Sunny Taylor [EP] Sunny Taylor
2010 NPS Maakt Jazz, Volume 7 Various Artists(Bryan Beller, others)
2010 Chains Of Sin Timesword
2010 Wicked: Music From The WesFest Community Various Artists (Bryan Beller, others)
2010 Where The Other Wild Things Are Steve Vai
2010 On Revolute Dave Weiner
2010 Spiral Vendetta Godsticks
2010 Tripple Ripple Anders Helmerson
2009 In Small Things Andra Moran
2009 H-Town Triangle Exception
2009 So Far Gone Colin Keenan
2009 Where The Wild Things Are (CD/DVD) Steve Vai
2009 Dethalbum II Dethklok
2009 Scambot 1 Mike Keneally
2008 Loss 4 Words Gary Schutt
2008 Rotonova Razl
2008 Reflections – An Act Of Glass Chris G.
2008 Prime Cuts James LaBrie
2008 Wine and Pickles Mike Keneally
2008 Nothing Clever Colin Keenan
2008 Are We Famous Yet? Mother Eff
2008 Thanks In Advance Bryan Beller
2008 To Nothing (DVD) Bryan Beller
2007 Boil That Dust Speck (Reissue – CD/DVD) Mike Keneally
2007 E2 Eros Ramazzotti
2007 Sound Theories, Vols. 1-2 Steve Vai
2007 Visual Sound Theories (DVD) Steve Vai
2007 WesFest 2 (DVD) Various Artists (Bryan Beller, others)
2007 The Marco Show (DVD) Marco Minnemann
2007 Onward And Downward Touched (Colin Keenan)
2006 Guitar Therapy Live (CD/DVD) Mike Keneally Band
2006 Here Comes Memory Tom Langford
2006 After The Storm Various Artists (Mike Keneally)
2006 Half-Pint Demigod Yogi
2006 WesFest (DVD) Various Artists (Bryan Beller, others)
2005 Elements of Persuasion James LaBrie
2005 Real Illusions: Reflections Steve Vai
2004 Dog/Dog Special Edition (CD/DVD) Mike Keneally Band
2004 XL Bass Lines: A D’addario Music Sampler Various Artists (Bryan Beller)
2003 A Fair Forgery of Pink Floyd Various Artists (Mike Keneally)
2003 The Infinite Steve Vai: An Anthology Steve Vai
2003 Salve Yogi
2003 View Bryan Beller
2003 Pup Mike Keneally Band
2002 Wooden Smoke/Wooden Smoke Asleep Mike Keneally
2002 The Elusive Light and Sound, Vol. 1 Steve Vai
2001 Any Raw Flesh? Yogi
2001 Bikini Space Surfers
2001 Mullmuzzler 2 James LaBrie
2001 Out From Under Janet Robin
2001 Karma NDV (Nick D’Virgilio)
2000 Automatic Dweezil Zappa
2000 Dancing/Dancing With Myself (CD/DVD) Mike Keneally & Beer For Dolphins
2000 The 7th Song: Enchanting Guitar Melodies Steve Vai
1999 Keep It To Yourself Mullmuzzler (James LaBrie)
1999 Six Pack: Multi-Artist Radio Sampler Various Artists (Mullmuzzler)
1999 Tribute To The Titans Various Artists (Stanley Snail)
1999 The Ultra Zone Steve Vai
1999 Theory Of Forms Neil Sadler
1998 Sluggo! Mike Keneally & Beer For Dolphins
1998 The SWR Sound Various Artists (Mike Keneally)
1998 Open The Door Janet Robin
1997 Half Alive In Hollywood Mike Keneally & Beer For Dolphins
1997 Merry Axemas: A Guitar Christmas Various Artists (Steve Vai)
1996 Music For Pets (U.S. Version) Z (Dweezil & Ahmet Zappa)
1996 Soap Scum Remover (VHS) Mike Keneally & Beer For Dolphins
1995 Boil That Dust Speck Mike Keneally
1995 Tales From Yesterday: Yes Tribute Various Artists (Stanley Snail: Kevin Gilbert, Mike Keneally, Bryan Beller, Nick D’Virgilio)
1995 Music For Pets (French Version) Z (Dweezil & Ahmet Zappa)
1994 Shampoohorn Z (Dweezil & Ahmet Zappa)

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56 minutes ago

Bryan Beller

BEHIND THE SCENES FROM THE FLOOD - SWEET WATER: For those of you who noticed that “Sweet Water” sounded like something from an earlier album of mine, you were right! There’s a certain archetype of song that served as the title track to my two previous records. “View” and “Thanks In Advance” are both slow, sensitive guitar ballads, and the closing chapters to the stories of those albums. So I thought that, considering “Sweet Water” is about being on a long plane ride at the end of an even longer journey, and daydreaming about a) a wistful vision of finally going home again, and what a relief and how awesome it will be; b) a deeply reflective look back on the events that brought it all to this point, and perhaps even further back than that… I thought it would be interesting to evoke the sound of those earlier songs, now over ten or even fifteen years old. That’s why the artwork is literally a postcard of that vision, the peaceful return to home after an epic voyage. But can you really go home again after something like that?

This will be a bit a long, but we’re at the moment of truth here, so I hope you’ll indulge me.

I’ve talked a lot in previous posts about Guthrie Govan (Official)’s incredible performance on this song, and how hard we worked to get it (ICYMI: it took months!). The only thing I’d add in terms of why it had to be him: Who else could rise to the challenge of being the sole melodic instrument to follow the massiveness of “World Class”? Or using a sports analogy, it’s the NBA Finals and you’ve got one shot to win it all. And you’ve got Michael Jordan. Do you give him the ball or not? ¯\_(ツ)_/¯

But let’s not forget about Joe Travers’ incredible groove and emotionally charged fills on this song, especially in the ending (we’ll get to that in a bit), and Mike Keneally’s double-tracked acoustic guitars. I wrote those parts on keyboard (we actually kept them as a second layer in the background), and sometimes it takes a virtuoso to track something that sounds simple, but actually isn’t.

And yes, that’s me on the lead guitar in the ending. At first I was embarrassed to follow up Guthrie with climactic lead guitar bits, but it turned out that the shift in the song’s final minute actually wanted a different lead voice to help change the scene, so to speak. And it worked emotionally as well (more on that crucial bit below). So I got used to it and ended up keeping it. Thanks again to Forrester Savell for skillfully re-amping those tracks - they needed every ounce of love, I can assure you!

Now, let’s talk about this song’s ending, because it’s where the whole album has been leading to from the very first minute. As I said to Forrester more than once about this part: These 30 seconds are the whole ballgame.

I knew from early on that, eventually, the end of the album would reprise the melody of the very first track, “The Scouring Of Three & Seventeen”. And I had the song “Sweet Water” in my back pocket from early on as well. I even had most of “Let Go Of Everything” (the last track) in advance. What I didn’t know was exactly how it would find its way from where the “Scouring” reprise comes in (at 6:41) to the start of “Let Go”. The total duration of this key bit is 30 seconds. I purposefully saved it for the final move of the writing process, and it was the very last thing I composed for the album in any harmonic detail. I even almost made those 30 seconds a separate track, but I thought that would be giving the game away, so I thought better of it.

I know I’ve been talking a lot about Pink Floyd’s “The Wall”, but at this crucial point, in terms of album structure, I was thinking deeply about Yes’ “Tales From Topographic Oceans”. For those who missed it, I’m a big fan of that album’s massive scale - four songs, 20 minutes each - but felt very deeply that Yes did not compositionally stick the landing in the album’s final minute. I get what they were going for at the end of the final song, “Ritual”. It’s a twisting series of chords that builds to a massive climax, one that doesn’t go where you think it will, and instead ends on a minor chord, and leaves you feeling disquieted. But the chords in the buildup, to me, were a strange random harmonic jumble, and the come-down just dissolves into an anti-climactic nothing. With a bit more cohesion and care, it could have worked, but somehow it just didn’t. And quite arrogantly, I always thought to myself: I wish I could have heard the “right” version. As crazy as it sounds, that was my goal as I sat down to write the climax of my entire double concept album - to make mine work by honoring the spirit of what I thought the end of TFTO should have been!

So I reached back to the very beginning of my musical training - classical piano - and imagined what it would feel like to have a feeling of “ascension while twisting”, as if you were being lifted up into the heavens by a whirlwind, experiencing euphoria, but also while blinded and disoriented. This would symbolize the protagonist’s internal feeling of almost reaching home, at long last, where everything is Right Once Again.

I sat at the keyboard with a C3 organ patch dialed up, started where the “Scouring” melody ended, plunked my left hand down onto a low octave, and began constructing voicing after voicing, one by one, with the bass note ascending and the upper chord changing and twisting each time, knowing that I somehow needed to get to B minor in the end, and that the final twist should feel like a traumatic shock, not a letdown.

It took four days of hours-long sessions, walking away, coming back, waling away, coming back...and finally, I felt I had it. Then I arranged everything else around the organ part - the acoustic guitar arpeggios, the high choral chords, the lead guitar breaks (kept from this original demo writing session), the higher melody guitars pinging the octaves, and then the drum part, which I programmed in exacting detail (god bless Joe Travers for playing it hit for bloody hit).

And finally, in one last nod to “The Wall”, I threw an explosion effect on the song’s final massive downbeat, the connection between the end of “Sweet Water” and the start of “Let Go Of Everything”. Because why the hell not.

What does this massive crestfalling mean for the story of the album? And for the more meta-meaning of the listener’s experience of hearing a progressive double concept album make this hard screeching turn in the 85th minute? I’ll address that in the explainer for the final song.
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21 hours ago

Bryan Beller

Super fun hang with Scott Devine of ScottsBassLessons.com this morning in Manchester! At some point we’ll share our fun with the interwebz. 👍🤘 ... See MoreSee Less

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1 day ago

Bryan Beller

Well, will you look at this... 😉

(I didn't get a chance to scribble "this is magenta now --->" on my goatee for this graphic, but you get the idea.)Hi ASIA! We’re coming back to you this June-July 2020! Stay tuned for more news / dates in a couple of weeks.
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2 days ago

Bryan Beller

EDIN-BRAH: Thanks for a great show last night in your fine city. You are very loud. I think my ears are still ringing just from the crowd response! We're currently driving in the Aristo-van (yes, a van) from Edinburgh to Manchester, and we're all fans of the beautiful green rolling Scottish hillsides on the road out of town. The sheep seem to like it as well. There are many of them.

So it's on to Manchester, then. Is it appropriate to say that we're mad for it? (Guthrie says yes. Who am I to disagree?) Hope to see you there.

Cheers,
BB

(crossposted from The Aristocrats page)
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4 days ago

Bryan Beller

I've woken to the terrible news that Lloyd Schwartz of Tech 21 NYC passed away, apparently unexpectedly and suddenly just after the NAMM Show concluded. Lloyd and Dale Krevens were two of the very first people I ever worked with in the industry regarding artist arrangements for gear, and they helped me get an original rackmount SansAmp PSA-1 in 1994, which I *still* have and use! One of my favorite moments of every NAMM Show would be coming over to Tech 21's booth, seeing Lloyd's smile through that huge beard of his, and checking out the latest fun stuff. Recently it was the dUg Pinnick signature amp, and I played the intro to "Out Of The Silent Planet" like a giddy fool while Lloyd watched and grinned.

I know many folks literally *just* saw and hung with him at NAMM. For all of the reasons I'm sad to have missed NAMM this year, this is the biggest. RIP, Lloyd.With heavy hearts, we regret to inform you our beloved colleague, friend and music industry legend, Lloyd Schwartz, passed away last night. At this time, we do not have information regarding funeral or memorial arrangements. Kindly understand we will be unable to answer any questions. Lloyd was an integral part of our family for 27 years and we are devastated.
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BEHIND THE SCENES FROM THE FLOOD - "SWEET WATER": The record's penultimate track & final complete "song" ties the 85th min. of this progressive double concept album back to its 1st, & then takes a hard screeching turn at the last moment. Words: (top post) https://t.co/W0IOfDDsyy

Super fun hang with Scott Devine of https://t.co/s0YaVE84tz this morning in Manchester! At some point we’ll share our fun with the interwebz. 👍🤘

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