May 6, 2017 at 3:48 pm #67522
First of all, I am not a musician, so am really ignorant about how to play anything. So, any who, I was just in my car and the song the hit song from a few years ago “Get Lucky” by Daft Punk came on the radio. I noticed something when I was listening to it: The lower part of the song, the bass part (if you can call it that since I”m pretty sure it was all electronic) changed or went to a different note a little bit ahead of everything else before they were all on the same page again. It made the music jump and come alive. There’s no doubt this element came from Nile Rogers who produced the song and is the reason why it was such a hit. He’s from the old school, (Funny how to my ears its often people from the old school breathe new life into music,) just like Bill is. And I think it’s this very affect that he helped bring to the Stone’s music and why its never been the same since he left. He played the changes a little bit head of everyone else. Or maybe he stayed a little behind and followed Keith? The end result is he made the music Jump and gave it movement and depth. Or in other words: he made it sound more like actual music.May 6, 2017 at 4:02 pm #67523Cocaine EyesParticipant
For me and for my loving Bill’s sound, it was always about the “wobble”. Here’s an explanation:
In the Crossfire Hurricane documentary, Bill mentioned that Charlie Watts always played a little behind Keith’s guitar, while Bill played a little ahead. He described that as giving their music a little “wobble,” what made it sound a little loose without actually crossing the line into sloppy. That was a big part of why they sounded the way they did, and maybe that’s why they never sounded the same to you again. Little changes like that can affect the sound of a band a lot.
~CEMay 6, 2017 at 4:05 pm #67524
For me and for my loving Bill’s sound, it was always about the “wobble”. Here’s an explanation: In the <i>Crossfire Hurricane</i> documentary, Bill mentioned that Charlie Watts always played a little behind Keith’s guitar, while Bill played a little ahead. He described that as giving their music a little “wobble,” what made it sound a little loose without actually crossing the line into sloppy. That was a big part of why they sounded the way they did, and maybe that’s why they never sounded the same to you again. Little changes like that can affect the sound of a band a lot. ~CE
Ahh so it’s a little of both. Maybe I should watch that again.May 6, 2017 at 4:09 pm #67525May 6, 2017 at 4:20 pm #67526DKeymaster
Bill’s playing is a lot like Charlie’s high hat playing. It was essential and integral but not done in a flashy way. Charlie lifts the high hat when he hits the snare. In other words, the high hat leaves room for the snare. Bill’s playing was all over the place but never bothering anyone. He also locked into such a groove that when things hit right is drew such greater emphasis to the song and players at just the right point. If he did play something ‘straight’, it was done intentionally. Otherwise, he was all SWING. Choice example below…May 6, 2017 at 4:40 pm #67528Cocaine EyesParticipantJune 8, 2017 at 10:04 am #68110andrew tParticipant
I posted this article in a thread a long time ago, but it bears repeating here:
Working through the catalogue of Rolling Stones records, I can’t help but relate the band’s uniquely crafted rock and roll tunes to one of the great wonders of the culinary world: the pizza. Charlie Watts is the foundation, the solid bed that everything sits upon. Mick Jagger supplies the oogey gooey elastic vocal line that entices the consumer. And Keith Richards provides the toppings, the unique flavor and delectable licks that define each song. Going along with the analogy, Wyman is the secret sauce. He lies below the surface, sinks into the crust, and brings about a delightful tang and “je ne sais quoi” to elevate the perfect piece of pie.
Wyman has an innate sense of musicality that makes him the ideal bass player for the Rolling Stones. He understands how to lock in with Watts, compliment the rhythm guitar, leave space at the appropriate moments, and support the song with solid root notes, primal energy, and traditional blues patterns. Wyman tends to settle into bass parts as opposed to bass lines; he doesn’t necessarily play a set “groove” or sequence of notes. Instead, he establishes a somewhat loose, yet clearly distinguishable part that unites all of the musical elements of the song. His part is malleable and reactionary, always going with the flow of the band and often developing in complexity as the song progresses.
Playing with a distinctively “rooted” mindset, Wyman clearly defines the harmony of the song, which happens to be just the right thing for rock and roll. He inherently knows just the right place to jump up an octave, creating a sense of motion even though the harmony remains the same. Though his approach is fairly simplistic in terms of note choice, he has a keen understanding of how to drive a song and use the sound of his instrument.
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