A Quote by Kim Gordon
Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
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It's really hard for me to sing and play bass. Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
I feel my spot is somewhere between a bass player and a rhythm guitar player. I play with a pick. I play very aggressively. I always have a distortion pedal in line, and I play less melodies and do more stuff against the guitars that create melodies.
There's something about rhythm and bass sections generally, how the bass and drums interact, that's basically the soul of any song.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
If you see a credit with just my name on it, that means I write absolutely everything: rhythm guitar parts, guitar melodies, vocal melodies... absolutely everything, really.
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
The relationship in Pantera and with Damageplan is the opposite of the traditional rhythm section. It's me and Dime, not the bass, locking in always. Dime's such a strong rhythm player that we just walk in, and we're good to go. We've been playing together forever, and when he goes somewhere, I instinctively know where he's going.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
I always have melodies flowing in my head - whether I'm just at home, at the mall, at a restaurant or wherever. I'm always humming along to the random melodies that form in my head. My friends always ask me, 'What are you singing?' and I'll be like, 'I don't know!'
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.
I just recorded in studios, you know, people pressed the buttons for me. So I just started recording the bass lines and guitar parts with my voice, covering classical pieces, or just making up melodies so I could learn how to use it.
The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
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