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Interviewing bassist stories

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but you just posted an incredibly useful and helpful parable!! :hyper:

And this is helpful in a lot of other fields, too. Starting up technology companies (doesn't matter which field) is now the same as trying to sell an unknown band, there's so many out there now that the capitalization field (venture capitalists, foundations, angel investors) is the twin sibling of the music industry. And just as nasty and corrupt, except on Sand Hill Road they wear $2000 blazers and $500 khakis and shirts w/no ties. Don't sell your experience short, please.
 
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Cool, you're friends with Michael Anthony?

I kid, I kid :)
Not to take anything away from Michael Anthony, because his longevity is amazing.

But this former bassist studied Indian vocal music and applied it to his bass playing. He does stuff similar to this, but with a fretted bass and a pick:

Monsoon Music Presents: Justin Gray - First Offering (Solo) - YouTube

He was the greatest pick-using player I've ever seen. He uses vibratos and slides like nobody else.
 
but you just posted an incredibly useful and helpful parable!! :hyper:

And this is helpful in a lot of other fields, too. Starting up technology companies (doesn't matter which field) is now the same as trying to sell an unknown band, there's so many out there now that the capitalization field (venture capitalists, foundations, angel investors) is the twin sibling of the music industry. And just as nasty and corrupt, except on Sand Hill Road they wear $2000 blazers and $500 khakis and shirts w/no ties. Don't sell your experience short, please.
Thanks again. Essentially, I'm just here to babble. I haven't talked about music in ages, so it's nice to get things off my chest.

It's also nice to not be angry and disappointed anymore about how things turned out. When they made me Contributing Editor and my Scott Thunes interview was a runner up in the annual award given to magazine articles, I thought, "Yahoo! Welcome to the big times, baby! I'm on my way, I'm making it!"

Peter Gabriel - Big Time [Live] - YouTube

(Tony Levin playing drumstick bass in 1987, BTW.)

But then the editorship changed, and I was shunted off to the side in favor of writers who made the advertisers happy by concentrating exclusively on the artists who could sell CDs.

Now that CDs are kaput, I have no idea what the business model is. I haven't read a music magazine since about 2003.

I'm an anachronism, but that's okay. You can ask me how things used to be done, since I can't tell you how they're done today.
 
I've wracked my addled head, and I've come up with one piece of useful advice for all bassists trying to make it in the music world:

NEVER READ YOUR REVIEWS.

When I published my book of interviews with bassists, I got some really terrific reviews, mostly from the British press. Then I got this from the Chicago Sun Times. This is the entire review:

"A much less useful book is In Cold Sweat: Interviews with Really Scary Musicians, by Thomas Wictor. Apparently the author simply had some transcripts lying around in his desk drawer and tried to figure out a way to make money off them. Save your money. Not worth anything."

I can't tell you how painful it was to read that. Not painful in a personal sense, but because such a big, reputable publication with thousands of readers dismissed my labor of love with such offhand contempt. There's no doubt in my mind that the reviewer didn't even read the book. He just flipped through it, like he was shuffling a deck of cards--frrrrrrrrrrrrp--wrote the review in five seconds, tossed the book in the trash, and went on to the next one.

I've published two other books since then, and I've never read anything about them. I have no idea how they were received. If I ever get my career as a novelist off the ground, I won't read reviews of those efforts, either.

When the reviews are good, you get hungry for more; when they're bad, it hurts. Nobody will ever get 100 percent positive reviews, and a lot of reviewers have adopted the troll culture of gleefully inflicting pain.

Two notorious reviews stick in my mind:

Of a Christopher Cross album - "Fat man; thin voice."

Of a Ted Nugent album - "You're too old, Ted. F_ _ _ off."

So, if you read your reviews, you're headed for disappointment, guaranteed. My advice is to ignore the reviewers.
 
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name one monument built to a critic :rollno:

Artists? Authors? Musicians/composers? Poets? :D

Mozart had plenty of haters in his day. Who are we listening to now (and for the last 200 years, come to think of it....)?

You get my point.

Get it out there, damn the torpedoes. The business model will figure itself out and always changes but humans and how they conduct their affairs will never change.

Why are we still enthralled with Shakespeare?

I rest my case :D
 
name one monument built to a critic :rollno:

Artists? Authors? Musicians/composers? Poets? :D

Mozart had plenty of haters in his day. Who are we listening to now (and for the last 200 years, come to think of it....)?

You get my point.

Get it out there, damn the torpedoes. The business model will figure itself out and always changes but humans and how they conduct their affairs will never change.

Why are we still enthralled with Shakespeare?

I rest my case :D
All true.

Here's a story about a Californian bassist I interviewed. He's still playing today.

When I interviewed him, he was about 23. He was one of the fastest, most accurate pick-using players I've ever seen. He didn't do solos, but his band did a hardcore version of a style I won't identify, so the kid was following the other instruments, sometimes the vocals, everything. He was a one-in-a-million natural virtuoso, a born bassist.

When I went to interview him before a show, I came up behind him and called his name. He didn't respond, so I stepped around in front so he could see me, and he shook my hand. Nice guy, very personable. We went into a trailer to do the interview.

He was so soft spoken I had to sit really close to him to understand what he was saying. I noticed that he stared intently at me when I asked questions and then would look away and give me a laconic, soft-spoken answer. At some point I glanced down to write a note on my pad as I asked him a question.

No response. I looked up and asked him again, and he answered this time. I realized he was lip reading me. He was stone deaf.

After the interview, he invited me to stay and watch the show from the wings of the stage. It was the loudest noise I've ever heard in my life. Even with earplugs, it was pure agony.

I read a story once about a school for the deaf that had dances, where they would put the speakers face down on the floor so the kids could feel the music with their feet. That must've been what this bassist was doing.

Since he was self-taught and couldn't read music, I have no idea how he learned new songs. Maybe they turned it all up in the studio, and he felt enough of it to provide the accompaniment required. He'd already been playing for ten years at that point, so maybe he knew what to add to each song even though he couldn't hear it anymore. If they told him the key and he felt the rhythm, maybe he could figure out the rest.

They're still playing, and he's still with them, so he has some way to keep up. But that really got to me. Only 23 and already completely deaf from his music.
 
Tom you are truly a rarity and you have my respect.

I feel your truth and integrity and respect for others.

And most bass mags are full of bs.
Thanks very much. I appreciate it. I wrote for all you guys and gals. I'm sorry the Powers That Be decided that the people who play the instrument aren't as important as the advertisers.

It was a stupid decision, because the magazine was going gangbusters when they were taking chances and expanding their coverage of every type of bassist. What happened was what always happens: They messed with a successful business model by thinking they could make more, more, and even more, and they screwed it up.

Someone in the organization recently told me the magazine is a "shadow of its former self." I wouldn't know, since I haven't looked at it in years.
 
I'd buy it in a heartbeat. It sounds like they left so much good stuff in the crapper. No wonder they're going under.
They did toss out a lot of the good stuff. I don't mean my stuff; I mean stuff that lots of writers either submitted or proposed, and it got the kibosh because someone with no love of music thought it wouldn't make enough money.

Have you noticed that entertainers only go on TV when they're promoting a product? That's the model. That's why they killed all my articles that were in the can when they changed editors. None of the people I'd interviewed had a product to sell, or the advertisers figured that the person would never be big enough to make an endorsement, or they were "yesterday's news," like they said about Ray Shulman.

The first two editors I worked under were geniuses. That was the heyday of the magazine. After that, it went into a self-induced death spiral that was entirely predictable.

A waste and a shame, and it didn't have to happen.
 
granted I'm a newer bass player and so haven't a whole lot of stuff from the bass players heyday but from what i have seen I'll agree with that sentiment. They have some interesting interviews occasionally but it's mostly ads and the reviews aren't really all that great I find. I know describing tone is kind of an uphill battle because it's an intangible thing but you certainly don't help yourself when you don't really go in depth. I often feel like I have no idea how a bass might after reading one of those
 
Well let's see..
I have relatively good hearing, I play with or without a pick,
I have played live and done all the bass for any studio tracks,
I'm not a loony conspiracy theorist, I don't drink and drive,
I don't do any kinky, porno moves on stage, I didn't do 10 years in jail for narcotics,
I don't inflict my political views on an audience and I'm not short and chunky...just older.
So, how come no magazines are beating my door down for interviews?


..
Oh, that's right...I'm just not that interesting
 
granted I'm a newer bass player and so haven't a whole lot of stuff from the bass players heyday but from what i have seen I'll agree with that sentiment. They have some interesting interviews occasionally but it's mostly ads and the reviews aren't really all that great I find. I know describing tone is kind of an uphill battle because it's an intangible thing but you certainly don't help yourself when you don't really go in depth. I often feel like I have no idea how a bass might after reading one of those
Here's a name I can mention: Gene Simmons.

The interview started with him actually taking my tape recorder out of my hands and cradling it in his lap as he sat on the sofa with his legs stretched out on the coffee table. He went into his standard interview, which I let him do for a while, and then I started asking him questions that I'd never heard anyone ask before.

With someone as famous as he is, it's a really weird balancing act: You can't be too deferential, or they get bored because everyone kisses their butts all the time, but you can't be too familiar, because then you're coming off as disrespectful for their hard-earned position in society. So, you have to show that you're not a sycophant, but you're also not in any way challenging them or taking liberties.

He ended up giving me over two hours, when the original interview was supposed to be an hour, and he let me call him on his personal number to ask followup questions. In the interview we had a huge shouting fight over tone, because I told him I could tell different basses by the tone, and he said I was full of it. The fight wasn't real, but we had to pretend it was, because if I'd punched him on the arm and said, "Aw, ya nut!" he would've cut me off at the knees. That would've been taking liberties, see?

I told him--with deference--that he was full of it about tone, because the tone of his bass in his songs changed, and so did his instruments. If it didn't matter, he wouldn't have changed tone or basses. He eventually admitted that tone is important, but he refused to tell me a thing about his equipment, settings, or anything technical.

I can tell you the exact moment I won him over: I referred to myself as an insignificant insect, and he whistled the way you do when you see a terrible disaster, like someone falling off a building. He knew I was camping it up for him, and he knew that I knew he was camping it up for me, but as long as we didn't acknowledge it, everything was fine.
 
Well let's see..
I have relatively good hearing, I play with or without a pick,
I have played live and done all the bass for any studio tracks,
I'm not a loony conspiracy theorist, I don't drink and drive,
I don't do any kinky, porno moves on stage, I didn't do 10 years in jail for narcotics,
I don't inflict my political views on an audience and I'm not short and chunky...just older.
So, how come no magazines are beating my door down for interviews?


..
Oh, that's right...I'm just not that interesting
It's never too late to start doing all those things!
 
Here's a story in which the bassist was fine but everyone else was horrifying.

I interviewed a British bassist at a Super Secret Special Hotel where all the stars stay. The entire staff were models, and the lobby was this hell of glass panels, linen sheets hanging from the ceiling, and tortured metal sculptures that looked like wreckage from a plane crash.

The bassist himself was a perfect gentleman who gave me a wonderful interview. But waiting for him in the lobby, I came into contact with disgusting, repulsive, nightmarish entertainment Big Dogs--managers, agents, and lawyers. One fat old guy with a hideous combover told this anti-Christian joke in this booming, gravelly voice that you could hear all through lobby. The punch line had to do with a woman performing a sex act on Christ. Nobody batted an eye. They were all smoking cigars, pounding down drinks, and wheeling and dealing ostentatiously and at the tops of their lungs.

When I went into the black-marble bathroom, every single urinal had a puddle under it, and I don't mean water. The walls next to the urinals were splattered. There were wadded-up paper towels all over the floor and on the sinks. I went into the first stall, and there was an unflushed toilet. Second stall, same thing. A young guy in a $5000 suit came out of the third stall without flushing and left without washing his hands.

It was beyond belief how animalistic these people were, and when I later asked the woman bassist I mentioned previously in the thread (the one who ran the recording studio) why they did it, she said to show off their power. They're so powerful that they can force everyone to put up with their godawful, unhygienic ways. She said they don't bathe, because forcing people to endure your stink shows how powerful you are.

She even said--sorry about this--that in the most exclusive, mega-A-list hotels and restaurants catering to the Industry Big Dogs, they hardly ever have to replenish the toilet paper.

After my experience in that hotel, I believe it.
 
what's interesting is that as repulsive as the tech venture capital guys are and how much more they're worth monetarily than the entertainment bigwigs (do the math on the entertainment industries vs technological ones), they at least don't crack (openly, anyway) racist jokes and do practice proper hygiene in hotel bathrooms......
 
This is seriously the most interesting thread on TB in a long time.
I worry that I'm going to bore people or make them think I'm showing off.

Seriously, though, the floodgates have opened since I made my peace with not being able to play anymore. Suddenly I can talk about this without getting depressed or angry.

Here's an insider's story:

I was actually in the Bass Player editor's office (one of the two visionary editors) pitching Ray Shulman to him when the phone rang. It was a bassist who's extremely famous in the bass world but hardly a household name. He's also a famously arrogant, opinionated jackass who's convinced he's God's gift to the bass and who's technically brilliant but whose work has always left me cold.

He was furious over what the editor--who'd conducted an interview with him--had titled the article. I offered to leave, but the editor motioned for me to stay. I could hear all this high-pitched yammering coming out of the phone, and I pictured this angry cartoon pig getting roasted on a spit, turning over and over, squealing and thrashing. I started laughing, and the editor shot me the finger and had to cover his mouth because he was laughing, too.

It went on forever, and it was ridiculous because the article was nothing but laudatory, since this is one of the Towering Figures in the bass world, but his pride had been deeply injured by someone even bringing up the possibility that maybe he sometimes went too far in praising his own exalted abilities and making sweeping pronouncements about what "real" bass playing was.

When the call ended, the editor--who was usually a hip, snarky guy--slumped and said, "Sometimes I wonder if it's worth it. You put your heart and soul into this, and people hate you for it."

I knew what he meant, because every issue they would post a letter from some mental patient who had it in for me. He was a troll long before every other commenter on the 'Net became a troll. He had some ridiculous triple-barreled name, I think, with a number, like Milton Walker Studebaker III. No matter what I wrote, there'd be a letter from the guy complaining that I was a no-talent hack who should be fired. He once wrote "I'm still scratching my head over Wictor's statement that John Taylor is a brilliant bassist."

(Just as an addendum, Taylor was also the kindest, most polite, cooperative, humble, appreciative, and thoroughly pleasant person I ever interviewed, bar none.)

They asked me if I wanted to respond to the mental patient, so I sent them the following:

"If you're still scratching your head after three weeks, you need to see a doctor right away, because that means your cholinergic brain synapses have stopped releasing the acetylcholinesterase that neutralizes the neurotransmitter acetylcholine, which is responsible for initiating voluntary motion. You could end up scratching your head forever!"

But they thought that was too esoteric.

Years later, that guy e-mailed me out of the blue and apologized for harassing me the whole time I worked for Bass Player. I'm not a very forgiving person; I wanted to tell him to shove his apology, but I figured he'd probably gotten some bad medical news and was trying to make amends before the Big Gulp, so I told him all was forgiven.

One of the hardest things I ever did.
 
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