A Quote by Matt Cameron
Ben was more improvisational, and relied less on methodology, and basically is a guitarist who switched to bass, whereas Jeff has a more traditional approach to playing bass in a band, and has a great sense of what his band sounds like, and we lock up nicely.
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I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
Without getting real personal, we liked our bass player Ed. He was a great guy and he was a good bass player but his playing was suited for a different style of band.
I set myself up to be a bass guitarist and bass players get a lot more work than people like me.
Later in high school, I met Hillel Slovak, who was the original guitar player of the Chili Peppers, and we became really close. We had a band, and we didn't like the bass player, so I started playing bass, and I got a bass two weeks later.
My dad taught me to play bass. He's a bass player; he still plays in a band in Michigan to this day. He taught me to play bass when I was about 6. I used to just go to band practice with him, and whoever didn't show up for rehearsal that day, I would take their spot.
I'm 13 to 17, 18 years old; I thought that's what the world was like. It never occurred to me that this was a very unusual period in music history. So I went on assuming that one day I'm going to have my band like my heroes had their own band. So people ask me this question all the time - they go, "Bass is basically a background instrument." The other thing is that in urban music, Black music, the bass has a much higher profile.
A lot of other bass players have told me I'm the only bass player who plays with a pick but sounds like he's playing with the thumb and fingers, which is a great compliment.
That's what Joe Don Rooney and I do. He plays guitar and I play bass - and there's no reason to call it a band if you're not gonna have the guys in the band playing on the records.
One of my all-time favourite guitarists is, in fact, a bassist - John Entwistle from The Who. He's one of my all-time favourites, the way he kind of expanded. I mean, he could have been a lead guitarist and been one of the best guitarists in the world. He wasn't even bass player; he was a bass guitarist, and he took the bass to another level.
The main thing that those two albums have in common aside from my music, which of course, a sense of it, you can recognize, it is that the bass on Infinite Search was playing much, much less like a bass.
I was a bass guitarist first before I started playing double bass - and I only started playing it because my teacher said I'd get twice as much work, as there's not enough players out there.
We had a band called the Grainers. In our 12-year-old minds, this was like a double entendre for like being annoying and being a delicious donut. I got kicked out of the band for playing bass incorrectly. Like, I was playing it like a guitar. I was just so like twee and British, even as like the little 12-year-old boy.
I started playing bass in my friend's band for some reason. It was just something I did because, well, he asked me if I wanted to play bass and he played me this song - Nirvana's version of "Molly's Lips", the Vaselines song - and he said, "You can do this! This is not hard!" and it's like a two-note song. I learned that and then I thought I was a genius.
As a rock band, you're slightly one foot in the past, playing instruments like guitar, bass and drums.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
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