As a singing instrumentalist, how did you navigate the switch from rhythm guitar to bass?It was stressful, and took lots of practice. I started by mimicking the bass lines of songs I loved, and then adding vocals afterwards. The process could be monotonous, and it felt more mechanical than musical for a long time, but now I’m finally getting comfortable. I’ve found a strange freedom in singing. But my bass playing can still hold me back. It’s frustrating, because I love to sing.
What covers did you use to cut your teeth?I learned to play and sing all of Led Zeppelin’s first record. We also played a lot of tunes by Band Of Gypsys, Aerosmith, and the Beatles. I love all of Paul McCartney’s bass lines on Abbey Road. “I Want You (She’s So Heavy)” is my favorite—it’s incredibly inventive. Also, James Jamerson played the greatest bass lines ever. I’ve attempted to tackle Motown tunes, but doing them justice in a trio is difficult. The vocals are often pretty loose, and it’s a challenge to improvise while holding down the bass.
What might you do during an instrumental jam when you’re free from the vocal?I make an effort to be melodic without getting in my brother Daniel’s way on guitar. If he’s playing a major pentatonic, Allman Brothersstyle lead, I try to play a contrasting line on another part of the fingerboard. If he starts high and descends, I might start low and ascend so we push and pull like a seesaw.
CAN BE HEARD ON
Rose Hill Drive, Moon Is the New Earth [Megaforce, 2008]
CURRENTLY SPINNING
Dr. Dog, Fate [Park the Van, 2008] “I like everything about it—especially the classic R&B-style bass tone.”
GEAR
Bass Fender ’59 Precision Bass Relic with Lindy Fralin pickup Rig Ashdown ABM 900 EVO II head, two ’70s Fender 2x15 cabinets with Jensen Vintage speakers, Avalon U5 DI (studio) Effects Fulltone Bass-Drive, Electro-Harmonix POG Polyphonic Octave Generator Strings D’Addario EPS165 ProSteels (.045–.105) “I had Lindy Fralin overwind my P-Bass pickup for a hotter tone.”