BASSISTS IN THE EARLY ’80S WERE QUICK TO EMBRACE BIG HAIR, BI- AND tri-amped rack systems, and even programmed drums, but when keyboard bass began to replace real bass, it understandably caused anger and concern among many. Gradually, as reality set in and thumpers became more accepting of this state-of-bass, ears opened up to what bottom-savvy keyboardists like Greg Phillinganes, Larry Williams, David Frank, and David Gamson could do. Amid the din of synth bass that permeated the Top 40 of the period, one quirky sub-hook that stood out was Thomas Dolby’s “Hyperactive!”
The New Wave keyboardist/vocalist from England had a Top 5 U.S. hit with 1982’s “She Blinded Me with Science.” Dolby’s studio and road band featured the eloquent bass playing of Matthew Seligman, who shone even brighter (especially on fretless) on Dolby’s 1984 follow-up, The Flat Earth [Capitol]. But it was “Hyperactive!”, with Dolby on synth, that low-enders tuned into. Dolby originally wrote the song for Michael Jackson, who contacted him after hearing “She Blinded Me with Science.” When Jackson failed to follow through, Dolby kept the tune for The Flat Earth.
The brilliantly twisted track begins with solo trombone and voice-over before the A section bass line comes in for the start of the verse (Ex. 1). Against Dolby’s halftime- feeling vocals (and with no drums in yet), a track-long tension between the double- time leanings of the “hyperactive” bass and the half-time/double-time switching done by the vocals, guitar, and percussion is established. As for the A-section line itself, Dolby attacks each note. To adapt it to bass, while retaining the slap vibe, use your thumb on all of the notes except the high C# and D# at the end of bar 2, which should be popped and hammered-on. Hammering the E to F# over the middle bar line will also make the part smoother and more bass-like.
The entrance of the B section bass line (Ex. 2) also marks the debut of the programmed drums. Together, they introduce a backward kind of feel to counter the downbeat vocals, while retaining the halftime/ double-time duality. Although we’re now on the IV chord, note how slickly Dolby arrives at the root (B), usually on an upbeat. To make this section more bassintoned, use your thumb on all of the notes, except for popping the high B at the end of measure one. Hammer-ons will also work nicely between the E and F# leading to beat two in bar 1, and the A and B leading to beat two in bar 2. The A section bass line then returns, this time as the chorus, and with a drum pattern that generally places the kick on two and four (!). And so it goes, alternating between A and B sections. Given the frenetic pace of the line, apply your own dual approach by staying on top of the beat while relaxing. Now, about your hairstyle.