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Bass Quotes

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Bass Quotes

“Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too distracting. If I'm listening to something I really love - I have to stop and give everything over to it. I'm listening to its structures, its melodic lines, the bass. It takes up too much of my head - in a good way.”

“Eventually as a teenager, I was pulled up on stage by James Brown's saxophone player, Maceo Parker, during one of his concerts and scatted on his stage for 20 minutes. After I was done, Maceo's bass player got down on one knee as if he were proposing, took a string off of his bass guitar and coiled it up around my ring finger. He hushed the crowd and said into the microphone, "Wendy, from this day forward you are married to music. You have a gift from God. You must devote your life to using this gift or else you will deprive the world of something so special." I got the chills.”

“I used to listen to music from the frosting down. As a word nerd, lyrics are really important to me, and then the melody. Playing in the Rock*A*Teens was the first time I ever heard music from the bottom up. I was hearing songs I'd heard a million times on oldies radio, and I'd be like, "Wow, listen to what the bass is doing!" When I was first singing in bands, I'd just get out there with my machete, wildly whacking away at the foliage. But you learn how to listen. When I feel I'm doing it right, it's 90% listening and 10% output. It's not "look what I can do!"”

“I think the most note-worthy part is that Stella [Mozgawa] had joined the band two weeks before we started recording, so that really influenced the way that the album was recorded. It was really important for Stella and Jen[ny Lee Lindberg] to lay down the drums and bass first for most songs, because they were determining how they needed to lock in together, and Stella was still kind of learning and figuring out her parts.”

“Hip-hop was a big part of my life growing up, especially West Coast gangster rap. The reason I was able to listen to it so freely was that my mom couldn't hear any of it, so we would be driving along just blaring Too $hort's horrible misogynistic stuff, and my mom would just turn to us and say, "This is great. I can feel the bass. It sounds so nice." And we're like, "Yeah, mom. We can feel the bass, too."”

“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.”

“The idea is: You played to 100 people this week in Europe, and then next week you can play to 200. It's an investment in that territory. But it can lose money because it's very expensive to go to Europe. You can't really just say, like, "Oh, we're gonna take our van and drive to California tomorrow." It's more like, "Oh, we have to fly to London and rent three guitar amps, a bass amp, drums; buy all these flights for four people; hire a driver."”

“I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.”

“Sam [Phillips] wanted I Walk The Line up - you know, up-tempo. And I put paper in the strings of my guitar to get that (vocalizing) sound, and with the bass and the lead guitar, there it was. Bare and stark, that song was when it was released. And I heard it on the radio and I really didn't like it, and I called Sam Phillips and asked him please not to send out any more records of that song.”

“We are entering a world where there won't be one but two realities, just like we have two eyes or hear bass and treble tones, just like we now have stereoscopy and stereophony: there will be two realities: the actual, and the virtual. Thus there is no simulation, but substitution. Reality has become symmetrical. The splitting of reality in two parts is a considerable event which goes far beyond simulation.”

“I was raised on piano and saxophone and jazz music for ten or twelve years. Before I even picked up a bass. My whole family has always pushed the arts, you know? My brother is a doctor of music and my cousin is an opera singer over in Austria. Arts were always a big thing in our family.”