How do you help Shooter achieve his vision of blending classic country with contemporary rock and blues?
I constantly study the background of American roots music, like early jazz from New Orleans, which grew into the blues, rock, jazz, and funk.
What kind of groove is “the real deal” for you?
It’s that crossroads of country, rock, and soul. I grew up playing pop music—melodic rock like R.E.M. and U2. Rhythmically, it’s simple, but it has a lot of melodic nuance. That opened up the door to soul music for me. [Motown’s] James Jamerson defined how I hear the bass in the rhythm section, playing melodically. He always had a percolating, bubbling groove happening underneath.
What riffs give you inspiration?
On the rock side, I dig things like Free’s “Alright Now.” That’s a bass riff derived from the old Motown sound. Guys like John Paul Jones of Led Zeppelin took the Motown approach and gave it a rock & roll feel. When it comes to country music, it’s all the stuff that Bob Moore played in Nashville.
Your tone sounds muted.
I put a little piece of foam under the strings by the bridge—like Carol Kaye and Jamerson used to do back in the ’60s. It gives the notes more attack but less decay, and takes away a lot of the high overtones. That way I can play more actively without it taking over the mix.
In addition to playing, you sing the high harmonies with Shooter. What do you need in your monitors to pull that off?
I try to have only vocals. Having bass in the monitors gets in the way and just makes everything louder and mushier. I always have the bass in the side fills or coming from behind me and keep vocals in the wedge.