Although Walter Becker did play on the song "Gaucho", he's clearly been hugely influenced by Chuck Rainey. All the space he leaves, and the double stop slide from the F7 at the start of the 2nd verse is pure Rainey.
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Chuck Rainey (tone!)
- Thread starter Snerek
- Start date
Chuck is a true groove master. Great tone produced from his touch. Relaxed time feel. Sits on the back half of the beat. Together with Bernard Purdie, that is a very dangerous rhythm section. Among the very best of all time. IMO.
can you explain to a younger player what this means?
i think i know, but it might just need clarifying..
+1 That song is great for a complete workout, double stops, string skipping, slapping and an amazing groove, I like to play Peg as a yardstick to see how I'm progressing technically (still getting there).
Tonewise the same goes for Josie and Kid Charlemagne (if that ain't Chuck, someone's doing a great homage).
Simply stated-
If you think of the beat as a clock...with 12:00 as dead, balls-ON the beat-
A bit to the right of 12:00 would be on the backside (not so much that you're dragging).
A bit to the left of 12:00 would be on the frontside (not so much that you're beat rushing).
- Mar 30, 2007
- 4,017
- 321
- Disclosures
- Endorsing Artist: Genzler Amplification/Spector Basses/Mojo Hand FX
Spector basses unfairly get stereotyped as only having the scooped mid with over the top crispy treble pronounced sound. They can sound a lot different than that. A perfect example is how Graham Maby sets the tone on his Spector 5 string basses. He goes for the subduded treble with balanced mid sound. Personally, I prefer that type of Spector sound.
Now, back to the topic of the thread, I have not yet heard Chuck Rainey play his Spector Euro6LX. Does anyone know of any audio/video clips?
Now, back to the topic of the thread, I have not yet heard Chuck Rainey play his Spector Euro6LX. Does anyone know of any audio/video clips?
Which recordings can I hear him playing a Spector on?
Ah yes, I had forgotten he had that one! I was thinking of a picture of him I saw on the front of an instructional tape where he had a Black 4 string NS with crown inlays. However, on the instructional tape I had with him on, he was playing a Warwick Streamer Stage II!
Playing on the back half of the beat the means, relaxed time feel, almost lazy, not dragging but waiting for the full value of the note plus a hair. The result is powerful and thick. Chuck is the king.
Most of his vintage work is '57 P (Rosewood fingerboard if that matters), La Bella flats, injected into a tube board. No smoke, mirrors, or digital.
As these guys get older, the lure of money can influence them to "retire" their bass in the name of $ponsor$hip. That doesn't happen in the classical field... 400 yr. old strads are worth millions; how can a 40 yr. old Fender "get tired"??
As these guys get older, the lure of money can influence them to "retire" their bass in the name of $ponsor$hip. That doesn't happen in the classical field... 400 yr. old strads are worth millions; how can a 40 yr. old Fender "get tired"??
So Low---
However, in the first interview I read with him (Guitar Player Magazine in the late '70s- WAY before there were any bass mags) he was already talking about the shortcomings he felt with Fenders, he metnioned Fender nickle roundwounds as having a very good sound, and he was always searching for the right amp. I'm not one to confuse an artist searching for a different sound with the jaundiced attitude that people only endorse stuff because of money.
I think that attitude is a huge dis-service to the artitsts. I have no reason to beleive Chuck Rainey, Duck Dunn, Joe Osborn, Leland Sklar, etc. endorse products because they're paid to. My limited expereince with talking to artists regarding endorsements is that most of them endorse stuff they're already using. And often the only incentive they get is presonalized service and a reduced cost.
Ovation Guitars' endorsement policy was that the artist got to buy one guitar a year at dealer net. The artist however was able to call Ovation at anytime if they had a problem with their instruments. Ovation would call the local dealer and arrange to pickup the defecttive/damaged, whatever instrument and supply a replacement out of store stock. The company reimbursed the dealer for the guitar and shipping, the artist had their guitar serviced and returned. The only guitar Ovation gave away was to Glenn Campbell, and that was in appreciation for his decades of endorsement.
jte
However, in the first interview I read with him (Guitar Player Magazine in the late '70s- WAY before there were any bass mags) he was already talking about the shortcomings he felt with Fenders, he metnioned Fender nickle roundwounds as having a very good sound, and he was always searching for the right amp. I'm not one to confuse an artist searching for a different sound with the jaundiced attitude that people only endorse stuff because of money.
I think that attitude is a huge dis-service to the artitsts. I have no reason to beleive Chuck Rainey, Duck Dunn, Joe Osborn, Leland Sklar, etc. endorse products because they're paid to. My limited expereince with talking to artists regarding endorsements is that most of them endorse stuff they're already using. And often the only incentive they get is presonalized service and a reduced cost.
Ovation Guitars' endorsement policy was that the artist got to buy one guitar a year at dealer net. The artist however was able to call Ovation at anytime if they had a problem with their instruments. Ovation would call the local dealer and arrange to pickup the defecttive/damaged, whatever instrument and supply a replacement out of store stock. The company reimbursed the dealer for the guitar and shipping, the artist had their guitar serviced and returned. The only guitar Ovation gave away was to Glenn Campbell, and that was in appreciation for his decades of endorsement.
jte
I probably have the same interview; it was in a Guitar Player mag 1975 or so with Merle Travis on the cover (I saved this issue on account of the Rainey interview; IIRC, Robben Ford is also covered in this mag).
Anyway, yes, Rainey was 'complaining' about Fenders, pickup covers, strings, Ron Carter, etc. & how he had just received a Yamaha protype that he "intended to use forever".
In any event, I'm in the jaundiced crowd-
The Joe Osborn using a Lakland (that was designed from his Jazz) is different, though.
...all IMO, of course.
Done on a P-Bass with Flats. Awesome I agree.
Steely Guys didn't want him to pop/slap but he did it anyway.
Bernard Purdy on the drums. Fargen Killer.
Edit: Mike McDonald did all three harmony part in the chorus when he sang "PEG" also fargen killer...
I totally love the whole tune... album... Josie and Peg are my favs.
Lately, I find that the songs that move me are the ones I grew up listening to (thanks to an older brother with musical taste) - most of which happen to have Mr. Rainey on bass.
Man, what a bad mofo he is!
Man, what a bad mofo he is!
It's cool in that documentary when Michael McDonald talks about how they were even particular about his word enunciation and how they pushed him vocally. Those 'Classic Album' Videos are great, other good ones are Bob Marley and Frank Zappa.
"Good bass players' tracks always sound noisy when soloed. Chuck Rainey's tracks sound like someone's working on a Buick in the background. But plug it into the mix, and the magic is there."
This quote comes from this article, makes for an interesting read :
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This quote comes from this article, makes for an interesting read :
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