Vintage Guitar - September 2018 - Open - 93

"Outside Woman Blues" that
has a great bass line. What I
love is it has a counter melody
to the guitar. It's kind of a 12bar thing, but he creates this
beautiful countermelody that
fills out the song.
That's why I really love
Bruce - he was a "lead bass"
player, doing lead parts. My
favorite thing about Cream is
when they all take lead; Ginger
would take a drum solo while
Clapton hammered on the
bottom string, then just start
rippin' on it. And I really love
how Jack plucked that backand-forth motion on a string
so he could play fast.
Going back to Motown,
what's your favorite Jamerson lick?

That's really tough. I'll
probably have to say on Marvin Gaye's "I Heard it Through
the Grapevine," because if you
listen to the isolated bass part,
it's fantastic when all the tone
is there. When you listen to the
whole mix, it's not so present,
but it is in every way just as important -
probably the most important instrument
on that track, the way that it makes it move.
What really gets me about Jamerson is the
weird, different modes he would use - things
that really didn't traditionally make sense
in the world where he was playing. But he
did it, and people knew "This is a guy who
gets his own track." Bass players never really
got their own track before him - they were
tracked as a rhythm section. But Jamerson
was on his own for that one. I think people,
especially producers, really understood that
"This guy can make hits with bass." Take
a good song and put Jamerson on it, and
that's magic.
Geezer Butler?

Oh, man... Probably "War Pigs." I don't
think it's so much the lick, but the tone that
really gets me, right at the beginning - the
[hums the bass line] is so badass because
it's so slow and almost grungy. You can just
feel it, like it's a living being clawing its way
toward you. It's like this massive animal.
It's incredible.
John Paul Jones.

That's tough, but I would probably say
"The Lemon Song" because that bass solo
is pretty untouchable. One you'd expect
to hear is "Ramble On" because you know
you've done something right when people
walk around humming a bass part (laugh).
And then the chorus, too; he just flies
around. I think Jones emulated Jamerson on

that one - bass doubling the kick drum, then
going to that really fast bit at end of the vocal
lines on the outro. It's so tight and it makes
everything fit together so well. I love that.
He achieved some really great tones, too.
His playing was so key to the melody.
There are plenty of times where Jimmy
Page's part didn't relate to the melody,
yet the music lacked nothing.

Definitely, yeah. You can thank John
Paul for that.
John Entwistle.

He's another one who's really out there,
for me. I really love "The Seeker" because
his tone is overdriven. All their live stuff is
fantastic because the listener can't usually
tell the difference between guitar and bass
because the bass is just right up there in
front. Of course,
"The Seeker" is also cool because it's
not your typical flashy Entwistle lick. It's
pretty simple and stays in the groove.

Yeah, he sits back in that one. You can tell
this guy is respecting the song. He wants to
help it become a powerful performance.

Do you ever listen back to the things
you've played and say, "That sounds like
so-and-so?"

Well, it's interesting for me because there
was a point after about a year of playing
where I kind of stopped trying to emulate
what other people were doing. I felt like I
had enough knowledge to just play things
myself. We were writing a lot of songs, so
September 2018

93

VINTAGE GUITAR

Sam Kiszka with a '65 Precision Bass
he plugged into vintage Sunn 2000S
and Fender Bassman 50 heads.

I wasn't listening to other players. Parts or
lines would pop into my head and I'd think,
"Oh, this would be cool." That developed
my personal way of playing.
A lot of times, I don't land on the one;
I'm still doing a fill. When I listen back, I'm
like, "That's weird, but it kinda works!" I
think that comes from communicating
with each other, especially me and Daniel.
I can read him quite well and a quarter of a
beat in, I know what kind of fill he's going
to do. That's the best feeling, when me and
Daniel double a fill. It's pretty cool. I hit a
note and bow out for a second, let him take
over, then come right back in. There's a lot
of improvisation that goes into our shows.
What have you seen in Jake's progress
as a player?

I think he has stepped out of the world
of "only rock and roll," and looked at a
lot of different things. He has explored a
lot of music recently. The best songs and
some of the best riffs he's ever formulated
are on the new album. There's a certain
maturity in all of us that you hear on the
record, thanks in part being on the road
for almost a year, playing show to show to
show almost every day. Jake has definitely
expanded, creatively, and it's a very powerful thing.


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Table of Contents for the Digital Edition of Vintage Guitar - September 2018 - Open

Contents
Vintage Guitar - September 2018 - Open - Cover
Vintage Guitar - September 2018 - Open - IFC
Vintage Guitar - September 2018 - Open - 3
Vintage Guitar - September 2018 - Open - 4
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