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Tina Weymouth - Whadaya Think

R

Robroy

Guest
Jun 21, 2006
3,551
3,605
#1
Before I was a bass player, I fell in love with her riffs in the song "Genius of Love" on the Stop Making Sense concert video. There was something relaxed and smooth in her playing style and stage presence. I confess that I was a lot younger and part of it was I found her physically attractive. It's no longer relevant for a variety of reasons, not least of which is that I discovered the love of my life 18 years ago.

But I'm wondering how other players here view her contribution to the art.
 
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#4
hrodbert696 said:
Love me some Tina. Though she was never particularly attractive to me physically - not unattractive, just regular girl. But such groove!
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Interesting tone in that song. And man does her ability stand out in that one.

BTW, I'm one of those guys that had a girlfriend in Kindergarten. I've always loved girls because they are so different from guys. I love the way they think, the way they talk, the way they move. It means that a woman that looks "so so" in a still picture can look incredibly attractive to me when I see her move, or listen to her speak. The inner stuff is just always on my radar.
 
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#10
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#16
joe vegas said:
great time & feel,
unexpected cool variations in her lines,
occasional introduction of interesting off - beat ostinati (maybe a slight eno influence?),
FUNKY in that great angular downtown late '70s way,
and offhandedly sexy.
also by all accounts, humble and genuine.
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I saw an interview with her in 2013. I really like her attitude about music. She did not look, talk or act like a music industry burn out. From what I saw, she and my wife would get along famously (she's only three years older than my wife and me), and my wife's pretty picky about people being genuine.
 
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#17
I never paid much attention to Tina's playing until I went to a "pre-audition" for some heavily-backed ($$$) pop band with major label connections in 1989 where I had to bring some recorded examples of my playing. After they listened to a couple excerpts of my playing one of the folks on the management team said "You must be really into Tina Weymouth; you've got that same dedication to space."

After that* I went back and revisited the whole Talking Heads discography, and I'll be damned if she isn't incredibly good at what she does...and what she does is (was?) surprisingly unique: She's like the bass playing equivalent of a 60s/70s rock drummer where each tune dictated a very specific beat that was uniquely identifiable as being the part for that particular song. She comes up with a bass part that works, and then she works it; she sticks to it, By Any Means Necessary. She's deep in the pocket grooving her butt off, but there aren't a lot of variations/deviations from the defined part because that would dilute the identity of the part. And yes, she's definitely into space.


*PS yes I got the gig. But that's a whole 'nother story.
 
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#18
Feral Feline said:
Groove on "Once In A Lifetime" without messing up, fluffing a note, loosing the groove. One simple riff, two notes, the whole song, for more than 4 minutes – try it.

I like TH and TW.
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Yeah. That is one of the most challenging things for me - the repetitive stuff. It can be easy for a few bars, but I almost always at least slightly blow a bar. I've been known to intentionally vary it just so I don't lose it.
 
#19
Bob_Ross said:
I never paid much attention to Tina's playing until I went to a "pre-audition" for some heavily-backed ($$$) pop band with major label connections in 1989 where I had to bring some recorded examples of my playing. After they listened to a couple excerpts of my playing one of the folks on the management team said "You must be really into Tina Weymouth;
After that* I went back and revisited the whole Talking Heads discography, and I'll be damned if she isn't incredibly good at what she does...and what she does is (was?) surprisingly unique: She's like the bass playing equivalent of a 60s/70s rock drummer where each tune dictated a very specific beat that was uniquely identifiable as being the part for that particular song. She comes up with a bass part that works, and then she works it; she sticks to it, By Any Means Necessary. She's deep in the pocket grooving her butt off, but there aren't a lot of variations/deviations from the defined part because that would dilute the identity of the part. And yes, she's definitely into space.
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Kinda like the Ringo Star of bass players?
 

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