I bought my first bass because I wanted to be in a Band, and heard that it was the easiest instrument to play. A friend told me that it was the sexiest instrument.
I remember swallowing my tooth up in a high chair, but I definitely don't remember the first time I played bass. It was like, back there!
Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too distracting. If I'm listening to something I really love - I have to stop and give everything over to it. I'm listening to its structures, its melodic lines, the bass. It takes up too much of my head - in a good way.
Hip-hop was a big part of my life growing up, especially West Coast gangster rap. The reason I was able to listen to it so freely was that my mom couldn't hear any of it, so we would be driving along just blaring Too $hort's horrible misogynistic stuff, and my mom would just turn to us and say, "This is great. I can feel the bass. It sounds so nice." And we're like, "Yeah, mom. We can feel the bass, too."
You have to understand that the bass guitar is the party instrument. It only has four strings. If you see a bass player playing five strings, take your shoe off and throw it at him.
When drum'n'bass happened, when the two-step/garage thing happened, there was a chart smash every week; it operated on the underground and the pinnacle of pop mainstream at the same time.
Because nobody wanted to play bass, I was instantly in a band.
If I have a dynamite bass player - I have Darryl Jones - it's so easy to write for him because he's such a funky kid and he's gifted. He's like a little genius.
I'm at the round table, where your seat at? Where your plate, where your lobster, where your sea bass?
So I go to the studio, and just say, 'Hi Paul, it's me, Rusty.' I think I kept it together pretty well, although I was pretty nervous. And before the day is over I'm playing guitar, and there's Paul McCartney over there, playing his Hofner bass and singing. All I can do is think, 'This life is so so bizarre.'
Besides, the bass isn't a difficult instrument to play. It's like one step up from the kazoo, isn't it?
If you put a Mars bar in one of Glenn Hughes’ hands and a bass in the other, he’ll choose the Mars bar.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
Like, when we did Parliament and Funkadelic and Bootsy, it was actually one thing. But there were so many people that you could split them up into different groups. And then, when we went out on tour and they [the record companies] would see us all up there together - we had five, six guitars playing at one time, not including the bass! -, they said: "Wait a minute, that's just one whole group, selling different names!" But it wasn't - we had enough people in the group that each member would have a section to be another group. So now we're finally starting to get them to understand that.
You can't spell bass without ass
When I was 14 I would pick up my brother's bass guitar, and I would just pound on it, having no idea how to play it.
I took the frets out of my bass after I was getting into jazz a lot and I wanted to have that upright sound.
I'm a big lover of fish. Cooking fish is so much more difficult than cooking protein meats, because there are no temperatures in the medium, rare, well done cooking a stunning sea bass or a scallop.
A black-crowned night heron stood on an apron of wet sand, looking across the channel. The feather plume at the back of his head lifted in a faint breeze. Out there the channel churned its cyclonic eddies counterclockwise. Schools of anchovies, halibut, and sea bass came and went: silver flashes, small storms that well up from the inside of the sea but are short-lived, like lightning.
It's very inconvenient being a sculptor. It's like playing the double-bass; one's so handicapped by one's baggage.
There's a spectrum of possibilities. You can underline the bass, or not at all. You can create something that is well-anchored or that is floating and never arriving. You can make a melodic line dominant or barely visible. The conducting gesture is akin to painting or sculpture.
I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.
I've always been playing with other people, and that's how I learned. I got a kit of drums I couldn't play, but I also knew a guitarist and a friend of mine played bass and could teach us bass, and we just played. And I learned.
A song has to be hummable and memorable at it simplest form, and that's what bass does for me. I feel like the glue to everything.
I feel my spot is somewhere between a bass player and a rhythm guitar player. I play with a pick. I play very aggressively. I always have a distortion pedal in line, and I play less melodies and do more stuff against the guitars that create melodies.
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