ALO improvises a lot onstage. Why did you tighten things up so much on record?
We generally play it safer in the studio—we’re very meticulous about having tight arrangements, good-feeling grooves, and no clams. I’m less likely to go for something off the cuff on a recording session. “Lady Loop” stands out as an exception. I was loose—you can hear me letting go. I was going for a Sly & the Family Stone-era Larry Graham eighth-note groove, accenting the offbeats. Since there are only a few chords looping, I was able to explore the tones of each in different registers. The track itself is a steady build, and everything gets crazier as it progresses. That’s my most playful line on the record.

 How do you go about establishing a good feel when playing with new people?
The trick is in finding balance. Different drummers bring out different things in me. I just do it by listening very carefully and playing accordingly.

Before Dave Brogan rejoined in 2002, ALO had a few different drummers. How did that impact your playing style?
With Dave, we learned that it’s good for me to play toward the front of the beat. Our previous drummer [and former BP staffer] Elton Bradman was a pusher, so I’d lay back and be just fine. Since Dave is more laid back, it’s best for me to push in order to keep the energy flowing.

CAN BE HEARD ON

Animal Liberation Orchestra, Roses & Clover [Brushfire, 2007]

CURRENTLY SPINNING

Fleetwood Mac, Mystery to Me [Reprise, 1973]
“Great musicianship and songwriting, wonderful sounds top to bottom, and impeccable groove!”

GEAR

Basses
’74 Fender Precision Bass with Leo Quan Badass bridge, ’73 Kalamazoo EB-3-style short-scale; D’Addario ENR72 Half Rounds (.050–.105)

Rig
Gallien-Krueger 800RB head with Ampeg 4x10 or 6x10 cabinets; Mesa Engineering Walkabout Scout; Radial ProDI passive direct box

Effects
Electro-Harmonix/Sovtek Big Muff

Studio
Avalon U5 DI, Tech 21 SansAmp RBI, DOD FX53 Classic Tube
“I prefer simple gear—the fewer knobs and buttons, the better. I like the pure P-Bass sound, so I try not to color it too much. I mostly keep the tone knob turned down—I’ll turn it up when I want to cut through.”