Quotes About Bass

So Mr.Bass why do you think you should become an Usher?" asked the interviewer.Chuck smiled. Because I'm Chuck Bass.

I've always been playing with other people, and that's how I learned. I got a kit of drums I couldn't play, but I also knew a guitarist and a friend of mine played bass and could teach us bass, and we just played. And I learned.

When I heard BB Kings Sweet Sixteen, I knew I wanted to play bass because that was the thing that made that record: the bass player.

I wasn't allowed to play in some universities in the United States and out of twenty-five concerts, twenty-three were canceled unless I would substitute my black bass player for my old white bass player, which I wouldn't do.

Being down in Orlando, Florida, where we filmed the movie, I learned how to bass fish. Jerry Reed, who plays the villain in the movie, taught me how to bass fish.

The hardest instruments for women to play are bass and drums. Drums because of the physicality needed and bass just because its heavy and it's not an easy instrument to play.

That first bass I had was an Eko, a very old thing with a thin neck, I had that for quite a while.

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

My mom always told me I should have a Plan B. I said that if I'm not going to play guitar I'm going to play drums. And if I'm not going to play drums, I'm going to play bass. I always just wanted to play music. I was completely obsessed.

I always got great respect as a bass player.

I always just wanted to be the singer or the bass player in the band. I'd love to have a band, where I was obviously the singer, but where it wasn't me, it wasn't my name.

In the early days all I hoped was to make a living out of what I did best. But, since there's no real market for masturbation I had to fall back on my bass playing abilities.

Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.

In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.

I had done chorus before in school, but I was only trying for an easy A. I was a bass going 'dum dum da doo wop.

My buddy Tim Bass he's a-workin' pumpin gas, and he makes two fifty for an hour. He's got rhythm in his hands as he's tappin' on the cans, sings rock and roll in the shower.

My dad was a bass player in a Latino band when I was growing up. So we always had musical instruments in our basement.

I love the percussion. It's a right brain, left brain thing. There are different beats, but cooperating together. It's your whole body doing it, you're doing the snare drum and the high top with your hands and the bass drum with your foot. You're this whole motion machine.

You can tune a guitar, but you can't tuna fish. Unless of course, you play bass.

I played recorder in assembly, then I became passionate about the guitar, I don't know why. I started on electric then moved to acoustic - my brother was playing bass in the next room.

With bass, especially bottom end, the vibration has to happen on stage otherwise the feel is wrong. This is why you can't scale the equipment down too far.

I play bass. I don't have to go out there and screech.

So for all that we might speak words in each other's vicinity, this could never develop into anything that could be called a conversation. It was as though we were speaking in different languages. If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one's engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.

I like writing songs. I like the camarderie of the and. I like touring. I love playing bass. And then there's free beer.

Folks call me Ellis. I run an auto shop with a couple of my buddies. We're also in a band. I play bass.

It may sound funny, but I love the South. I don't choose to live anywhere else. There's land here, where a man can raise cattle, and I'm going to do it some day. There are lakes where a man can sink a hook and fight the bass. There is room here for my children to play and grow, and become good citizens-if the white man will let them.

Some songs started from a bass line, some started from having the full lyric and Jim, my drummer, who's also the first guy I've been in the studio with him since 16, sometimes he'd have an idea and I'd put a lyric to it and then the track evolves, there's no set way to write a song.

I always worry that I'm a dilettante: I know something about lots of things but don't have exhaustive knowledge of much. Take dance music: I like enough of it and its history to be able to say a word or two about this or that record, but I'm nobody's authority. I couldn't name more than a couple of good drum'n'bass acts, and I have no idea what's big in the dance world right now.

I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.

The ukulele was the first of many instruments they had bought for me. They got me a guitar when I was eleven, which my son Morgan uses until this day. They paid for 3 years of guitar lessons; they bought me a bass fiddle, which I still play.

Our griefs cannot mar the melody of our praise, we reckon them to be the bass part of our life's song, 'He hath done great things for us, whereof we are glad.'

As far as the people that have inspired me, they're the people that I have played with the most. For example, the record that I made called Virtue, there was a wonderful band and a wonderful drummer by the name of Ludwig Afonso and a wonderful bass player by the name of Armando Gola.

I was training to be a lawyer... I was president of the law society at Glasgow University, and my bass guitarist was my secretary of my law society; the lead guitarist and writer worked at the law firm that I worked.

Grunge, like Nirvana and all that. Heavy metal, Iron Maiden, Metallica, Guns and Roses, drum and bass. I like to listen to it and try and break down what makes a fan of that music say 'Ah fuck that other music', do you get me? Trying to figure out what makes them tick, I always try and break that down with every piece of music. But the energy in that music, I love it.

To be a great band it's like you have that telepathy. You know when the bass player's in back of you without even looking. You know when your guitar player's coming up to you to lean up to you and sing into your microphone. You just know these things. You feel it. You feel the energy of it.

I spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.

Lance Bass needs to quit worrying about outer space and celebrate life by learning how to kill his own food.

When I lost the use of my hi-hat and bass drum legs, I became basically a singer. I was a drummer who did a bit of singing, and then I became a singer who did a bit of percussion.

When I came into Metallica, I had to do justice to Cliff's work, but I also had to put my own signature on it. No one could be Cliff Burton; Cliff Burton was the Jimi Hendrix of bass.

Yes, I love to play drums and bass and guitar and piano. Those are the main instruments I play. That is it.

Teddy Wilson, I think, said a little while ago that its much easier to come in and play whatever comes into your mind, without obeying any of the laws of bass line and harmony and so on.

Poetry is music though, unfortunately, not all music is poetry. Because music has other carriers to take its message - beats, lyrics, singers, bass players - anyone in music can rise to make a major statement but in poetry there are only words to do the work. And they do sometimes have to sweat.

We are entering a world where there won't be one but two realities, just like we have two eyes or hear bass and treble tones, just like we now have stereoscopy and stereophony: there will be two realities: the actual, and the virtual. Thus there is no simulation, but substitution. Reality has become symmetrical. The splitting of reality in two parts is a considerable event which goes far beyond simulation.