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Bass lines that make you yawn
- Thread starter abotaun
- Start date
I seldom find anything boring to play. Even simple 1-4-5 or *gasp* 1-5 songs can be made really interesting by focusing on the intimate details such as playing on, behind, or in front of the beat, note dwell, accentuating the backbeat, etc. Throw in a few random double stops, octaves, ghost notes, or jazz chordings to spice it up.
If you can't do any of that because of a band leader or band members, IMHO you probably need a new band.
Some songs seem like they'd be easy/dull to play until you really get into playing them. Most of Hank Williams songs sound simple but are more challenging to get right than they appear.
We recently decided to cover "Barracuda" by Heart. At first I dreaded having to pedal "E" for 7 minutes. Once I dove into the song, I couldn't get over the wierd timing aspects and super crazy fills I had never noticed before.
I don't know. If you're bored, change it up. Seems simple enough.
If you can't do any of that because of a band leader or band members, IMHO you probably need a new band.
Some songs seem like they'd be easy/dull to play until you really get into playing them. Most of Hank Williams songs sound simple but are more challenging to get right than they appear.
We recently decided to cover "Barracuda" by Heart. At first I dreaded having to pedal "E" for 7 minutes. Once I dove into the song, I couldn't get over the wierd timing aspects and super crazy fills I had never noticed before.
I don't know. If you're bored, change it up. Seems simple enough.
Ha! You beat me to this one. When I saw the thread title this song immediately came to mind.
I used to play guitar in a band that did this song. Our bass player would complain that his hand would cramp by the end of it because of how seldom he moved it. He actually considered buying a capo just so he could play the string open.
The funny thing is he would completely zone out by the time the bridge came when he could actually play some different notes for a few measures. He'd be off in his own world and miss the change near every time.
I love this question! This is an original song that I played in one of my old bands:
If I needed to do something else in the middle of the song (like open a beer, tighten a cymbal, make a phone call, interact with an audience member (use your imagination), etc., I could play all the way through the entire song with only my right hand.
When we first started performing the song live, I found myself daydreaming and wishing it would just end so I could get onto the more fun/challenging tunes. But then I started to notice that half the audience was probably having the same daydream I was having! So then I decided to give the song my complete undivided attention, and make it my goal to play every single note cleanly, crisply and flawlessly, with exactly the right amount of attack and sustain, and muting all unused strings completely. Well, it turned out it was actually really hard to do all that and get it exactly perfect every time! But when I did - wow - suddenly the audience responded by paying attention and really getting into the vibe of the song. It also opened my eyes to what a critical role the bass plays in the success or failure of a song, which then made me feel a lot better about what I was doing, and also made me appreciate the song more.
So the bottom line is: When you are playing, especially in front of an audience, be Zen-like, and always be in the moment. Always give it your best. NO song should have you daydreaming!
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I guess loads of the basslines I play (both ones I write and basslines on cover tunes) are super-boring if you listen to them in isolation. But they serve the song, and the ensemble is the alchemy. I love the sound of parts being put together to form a whole that is greater than its sum...so I guess I listen to the song, not just what I am playing. I don't really think about the bassline in that way, although if it is a real stinker I change it up a little. Once example is Built To Spill "Hindsight" - just last night we were playing it and I changed the bridge bassline completely and it brought that section to life. The drummer said "is that how it is on the recording?" And I said, "no, this is better." But I wouldn't do that to a recognizable line that everyone would miss (i.e. Where is my Mind, which was mentioned above).
Laid by James. Three notes and steady 1/8 note feel the entire time. It may be boring, but it sure is nice to play this one after playing something complex just before it. Plus, I get to egg on my guitarist to do dumb dance moves to it, while I also check out the cute girls....
There are songs that I used to hate, but once I learned the basspart I actually enjoyed playing, and there are songs that I like but are just a bore to play. Anyway, wehther I like them or not, I tend to fall asleep with the following:
- Bittersweet Symphony by The Verve
- Born on the Bayou by CCR
- Relax by Frankie Goes To Hollywood
- and that never ending instrumental part in Light My Fire by The Doors
Either one makes me yawn if it doesn't serve the song.
ZZ Top. Pretty much the whole catalog. Plus, I'd rather snort Comet than play SRV.
Pour Some Sugar On Me.
Not even sure that the bass is even needed in it.
Not even sure that the bass is even needed in it.
Sometimes I find the hardest challenge for me is to play something that has a simple bass line..... really easy for sloppiness to creep in when the concentration wanes.
If you aren't careful...easy and simple bass lines will expose your weaknesses in the most embarrassing way.
If you aren't careful...easy and simple bass lines will expose your weaknesses in the most embarrassing way.
