Amy LaVere: Slap Happy Upright

“I WAS BORN TO SLAP AN UPRIGHT BASS,” SAYS AMY LAVERE. CATCH her onstage with the Wandering (including Luther Dickinson of North Mississippi Allstars/ Black Crowes) or her duo with co-Wanderer Shannon McNally, and it’s clear LaVere is not kidding.

“I WAS BORN TO SLAP AN UPRIGHT BASS,” SAYS AMY LAVERE. CATCH her onstage with the Wandering (including Luther Dickinson of North Mississippi Allstars/Black Crowes) or her duo with co-Wanderer Shannon McNally, and it’s clear LaVere is not kidding. Others might be more schooled, but no player is more at home slapping an upright bass in perfect pocket to a country two-step than LaVere. The bass isn’t just LaVere’s instrument— it’s her dance partner. She twirls it around and twirls her body around the bass in harmonious flow. When the upright lady unleashes her lovely voice, the dance is on and all bets are off .

How did you get your slap bass wings?

I was living with a house full of musicians. I was the only girl. It was a lot like Three’s Company, but there were five of us. A few of the occupants at the time were members of Those Legendary Shack Shakers. There was also a guy who never paid rent— we kept him around for his sense of humor—plus Jason Brown, who was the upright bass player for Hank Williams III, and me. One evening I picked up Jason’s bass and started hopping around and slapping it in an effort to mock him and get a laugh. I play a little guitar, so I knew the notes well enough to play a two-beat in E. I was goofing off , and Jason’s jaw was on the floor—“You’re doing it!”

What would you recommend to an electric player who is considering jumping to upright and giving slap a go?

I’m not sure it’s possible to teach just anyone how to do it. Your hands have to be very relaxed but have purpose, and the rest is “the force.” I don’t mean “force” in the sense of strength, I mean it in the Star Wars use of the word, or going “snake eyes” as they say in Little BigMan. Realize it’s a dance for your hands. Probably the best way to start would be to pick out your favorite Johnny Cash record, drink a little straight bourbon until you are pretty loose, happy, and dancing around the room by yourself. It’s important to not take yourself too seriously if you want to do this well. You simply cannot approach slap bass with any tension or stress involved.

All right, we’re dancing. What’s the next step?

Pick up the upright and dance with it for a while. Flip the record. Then play along. It’s really primitive stuff . This way of playing upright is more akin to jungle drumming than playing a “song.” You have to lose yourself in it and boogie with the pulse— get into it, man! Most important, whatever you do, do not think about playing slap bass when playing slap bass.



Amy LaVere & Shannon McNally, Chasing the Ghost Rehearsal Sessions [Archer, 2012]; The Wandering, Go On Now, You Can’t Stay Here: MississippiFolk Music Volume III [Songs of the South, 2012]


Bass Early ’70s e-size Engelhardt upright
Rig Fishman BP-100 pickup, Fishman Pro-EQ Platinum Preamp/ EQ/DI, Gallien-Krueger MB Fusion head, two Gallien-Krueger Neo 212-II cabs
Strings Thomastik Spirocore S42 medium


Slap Happy From March and April 1991

PLAY BETTER NOW, PROCLAIMED THE cover of BP’s second bimonthly issue. Inside, we offered five technique-oriented features, ranging from a primer on tapping to a duet arrangement of Debussy’s “First Arabesque” for extended-range basses.

Michael Ivins : On The Joy Of Effects

MICHAEL IVINS WAS AN AMATEURB when he joined the Flaming Lips in 1983, but he’s since evolved into a capable sideman and sound connoisseur. He’s helped engineer the Lips’ complex studio sessions since the mid ’90s. Embryonic marks a return to the band’s early freak-out aesthetic. It’s unabashed psychedelic rock, loaded with truckloads of fuzz and wild effects. Most of the material manifested from jams with frontman Wayne Coyne on bass and Steven Drozd on drums. The Lips’ endless role switching in the studio does not carry over to the stage, where Ivins always holds down the low end.

Thievery Corporation-Ashish Vyas-Past Present

“KEEPING THE HISTORY OF MUSIC alive is the most important aspect of playing,” says Ashish “Hash” Vyas. Like a lot of self-taught rock kids, he discovered blues and jazz by tracing the roots of Led Zeppelin. “I wanted to be Jimmy Page on bass,” he admits. As a teenager, Vyas was into the punk aesthetics of Sonic Youth and Nirvana. Serving as a DJ at San Diego State University opened his ears to everything. In 1995, he started the experimental outfit Gogogo Airheart. The band released five albums on Gold Standard Labs records, which was co-owned by Mars Volta’s Omar Rodriguez. Since 2004, Vyas has applied his deep and varied music appreciation to the world-oriented, DJ-driven livetronica outfit Thievery Corporation, and he works with several artists on the band’s ESL label