How did you hit on the idea of a solo act focused on bass?
I was trying to write a book about my experiences as a bass player, and it occurred to me that no one had ever done a show from the hired hand’s point of view. I had all this material, which is basically my life, so I thought if I didn’t have a go at doing something comedic I’d never forgive myself.
How do you approach Pink Floyd’s and Roxy Music’s classic bass parts?
With Floyd songs, I could reinterpret the bass parts in my own way if I wanted to, but I’m more interested in playing them so they sound right. David is happiest when I just play an old Fender Precision, but Precisions have no front end. That’s why you have to play them with a pick. With Roxy Music, I mainly use Betsy, my 1964 Fender Jazz, because Bryan Ferry absolutely loves her. She’s famous—she’s pictured in The Bass Book [Backbeat Books] as one of the reference Jazz Basses. I use a MusicMan StingRay for “Love Is the Drug,” because I can get a really cutting top end without using a pick.
You’ve played on huge hits, including Madonna’s “Like a Prayer” [Like a Prayer, Sire, 1988], in which you double the synth-bass, and Michael Jackson’s “Earth Song” [HIStory: Past, Present and Future, Book I, Epic, 1995]. What was it like working on them?
“Like a Prayer” was amazing—Madonna had tons of input. It was great to get away with such an insane performance: The whole middle and end section of the song is basically bass. It’s a total octave-pedal freakout, like a punk Pino Palladino. I used Spectors with Madonna, but nowadays I find them a bit hi-fi. “Earth Song” was another massive octave-pedal thing. I basically stole the bass line from “Bad” because I figured Michael would like it, but wouldn’t know why!
You’ve performed in many styles. Who were your primary influences on bass?
As a kid I listened to John Paul Jones of Led Zeppelin, Paul McCartney and the Beatles, and Andy Fraser of Free. Andy was very funky, and he used to do high chordal stuff, which—considering he played a Gibson—was extraordinary. I’ve always been obsessed with harmonics, which I got from Jaco Pastorius. I also loved John Entwistle’s playing; the Who was the whole reason I got into rock & roll. I bought Betsy off him. Was I asked to join the band after he died? No, but apparently I was the next phone call. Also, [Motown’s] James Jamerson is God, no doubt about it. So is [Chic’s] Bernard Edwards; I worked with him on Robert Palmer’s Riptide album [Island, 1985] when I was only 21. In fact, Bernard hired me; the credit on the album reads, “Bass: Bernard Edwards and Guy Pratt.” That is my proudest credit.