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Bass lines that almost everybody plays wrong...

#182
lunarpollen said:
Only the first octave of the bass is not in guitar range. Why have frets higher than that? :P

Actually a lot of great recorded bass lines dwell in the guitar's range. The big difference is that "range" here only refers to notes. On those recordings, a bass playing a note in the guitar's range does not sound the same as the guitar playing that note, because the tones (overtones, etc.) are completely different.
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The bass line on the verse of Eddie Floyd's "Knock on Wood" (Played by Duck Dunn) can be played an octave down -- but it sucks in that range. Try it. Same thing with McCartney on "Rain." I think that since I came up influence by both McCartney and Jamerson, I'm a mix if the two, although I do favor playing high when I can.
 
#183
Regarding

Superstition
Play That Funky Music
All Right Now

If you can't hold a single note in the style of those tunes, you're toast. Pedals are hard not because they are flashy, but because they are subtle. Listen to Larry Graham with Sly or Michael Henderson with Miles on Jack Johnson. That's the shiznitz right there. You've gotta be able to pour all the (insert funk, rock, smoove, schmaltz, etc. here) into just one note before you can add to these lines.

Whipping Post

A lot of the guitards around here won't even try anything with an 11 count in it. :)
 
#184
Toronto Bassist said:
I kind of like it with the open E, however. I noticed McCartney would do that often, though...play the high 'E' instead of the low 'E' - like in I Saw Her Standing There, Money (That's What I Want), etc. I always thought that was kind of strange...why have a bass if you're going to play in guitar range? I thought maybe because his Hofner apparently had intonation problems, but I doubt it. If that were the case, then playing the low 'A' riffs would be problematic too.
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Perhaps to sound better on the single dashboard speaker that was common on your AM-only radio.
 
#185
Complicated tunes I can see not playing every note on the recording (i.e "Superstition"). Stevie plays what he feels. Not do this 4x then this 2x. So his lines are not "formula" driven. But simple tunes like "Brick House?" Anyone who can play bass should be able to get that down to 90% accuracy. But, I guess it comes down to what the individual (can) hears, processes and can translate onto the instrument.
 
#187
T-MOST said:
Complicated tunes I can see not playing every note on the recording (i.e "Superstition").
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The bassline to "Superstition" (from Talking Book) is pretty basic (some quarter-note pounding is involved)....the clavinet is the more intricate part.
"Boogie On Reggae Woman" (synth bass) would be a more complicated tune for a bassist to pull off 'exactly like the record'.
That said, Stuff did a cover & what Gordon Edwards played was pretty happenin'.
 
#188
The #1, Tommy the Cat. Over and over I will see Youtube video clips, people will say it is easy, then they play it wrong, then someone else says you dolt or other language, this is how, then they play it wrong.

I have even listened to studio samples of Primus tribute bands.

They play it wrong.

I am actually yet to see one instance of anyone playing it right (other than Les himself)

I am working on it, I just don't have the right hand rhythm right (which is incidentally the flaw I see in others playing it as well).

It just strikes me funny how many people say it is easy or say no my version is right and still do it wrong. I still do it wrong but at least I am not saying I don't.

Ken
 
#190
Socrates said:
I'll go first...

The unequivocal #1 all-time misplayed bass line is "I Feel Good" (it's a half step, not a whole step)

#2 "Sweet Emotion" (it's tricky)
#3 "Superstition" (simple, but somehow this always gets destroyed)

What else?
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Didn't read the entire thread, but those were the first 2 that came to mind. Along with Alright Now, which I'm sure was mentioned already.
 
#191
McCartney played the high E on quite a few tunes, including Revolution on the white album. His influences of blues and rockabilly often played that way. Johnny B Goode is a good example, original version, except in B. Gives the line more dynamics and groove. Where you would hit the open twice, hit the seventh fret once. Try it you'll like it.
 
#192
Matt R. said:
Believe it or not... Mustang Sally (why does every band think it turns around to the 5 chord after verses?):rolleyes:
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Because the original version of Mustang Sally by Sir Mack Rice does it that way with the turnaround. Most people think that Wilson Pickett did it first but Sir Mack Rice did and his has a bass intro that I have never heard anybody play.



I will add these two songs as well. Twilight Zone and Radar Love both by Golden Earring.
 
#195
biggs1249 said:
that's stupid. playing bass lines note for note off records isn't making music. sure learn the parts just to develop your ears, and your concept, but why play them out like that? who benefits? those notes might be the "perfect" notes. but they are perfect for that performance. The music will be better in the moment. the crowd knows when great music is made in the moment and they respond to that more than nailing the correct lick variation in bar 106.
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Can't really say it better...

I remember reading a show review in my local newspaper. The writer said something along the lines of "if I close my eyes, I can imagine it's U2"

I've got no interest in being a jukebox. Know the tune, cop the signature licks, then breathe life into it by playing it musically, not mechanically.
 
#196
Two real life examples of this situation:

Gary Thain from Uriah Heep and Chris Squire from Yes.

Back in the '70s, I learned the Bass lines to their songs note for note from the studio albums.

Then I got the live albums - Uriah Heep live & Yessongs - and, wouldn't you know it, both played differerent lines - so I learned them as well!.

Then I saw them both live and, you guessed it, different again!!.

From this I took it to mean, unless there's a definite "lick" or unison phrase that absolutely has to be there - the middle of "All right now", the break in "Sir Duke" , the intros to anything by Chic :-), then as long as you are in keeping with the general feel of the song, you are free to play what you think fits.

An example, I responded to a thread in the TAB forum yesterday: Someone was looking for "Southbound" by the Allman Brothers. I pointed him at a Guitar TAB I'd found and said - you'll find the fingerings for Unison run with the Guitar there, but the rest of it is a 12 Bar in C and that's how I've always played most stuff - I listened to the song, got a feel for what's going on and then played something similar that fitted.
 
#198
dvh said:
Can't really say it better...

I remember reading a show review in my local newspaper. The writer said something along the lines of "if I close my eyes, I can imagine it's U2"

I've got no interest in being a jukebox. Know the tune, cop the signature licks, then breathe life into it by playing it musically, not mechanically.
Click to expand...

I guess thats one way to look at. But if you really want to be an "individual" artist with something to say you should be doing your "own" stuff not covers. The concept of making a "cover tune" yours is almost an oxymoron.
 
#199
JimK said:
The bassline to "Superstition" (from Talking Book) is pretty basic (some quarter-note pounding is involved)....the clavinet is the more intricate part.
"Boogie On Reggae Woman" (synth bass) would be a more complicated tune for a bassist to pull off 'exactly like the record'.
That said, Stuff did a cover & what Gordon Edwards played was pretty happenin'.
Click to expand...

Yeah, Boogie On... not Superstition. :D
 

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