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
I need one more bass less.
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.
Funny story: I was hanging out with Adam Shankman for Samantha Ronson's birthday, and Lance Bass was there. I don't really know Lance, but he comes over to me and goes, 'Hey, I just wanted to let you know I'm a fan of 'Pretty Little Liars' and I'm rooting for your character.' It was surreal! That's how 'PLL' has changed my life.
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.
Bass is for people who can't play guitar
It's really easy to play harmonics, anyone can do it. It's another thing to be able to swing, to make to make a band swing, to create a groove. Harmonics ain't everything. Being able to play harmonics certainly does not make you a good bass player. Cleverness is no substitute for true awareness.
People ask how I learned to play bass with one hand. Well, with a face like mine, you learn to do a lot of things with one hand.
Plays bass guitar in rock band "Capitol Offense".
I was charmed by a performance given by Crowded House at Toronto's Massey Hall where the bass player broke a string.
Lance Bass needs to quit worrying about outer space and celebrate life by learning how to kill his own food.
I knew Glenn Frey. He called me up in 1977 and told me The Eagles were looking for a bass player, preferably someone who could write and had a high voice. That was me.
Critics are like horse-flies which hinder the horses in their plowing of the soil. The horse works, all its muscles drawn tight like the strings on a double-bass, and a fly settles on his flanks and tickles and buzzes. And what does the fly buzz about? It scarcely knows itself; simply because it is restless and wants to proclaim: 'Look, I too am living on the earth. See, I can buzz, too, buzz about anything.'
If a car comes past me in a traffic jam with a boom box going, I jump out of my skin. Those big booming basses. I'm just more sensitive to noise these days.
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