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00:00What is a bass line?
00:07What is a bass line?
00:09No, a bass line to me is something that has groove
00:12and that carries the song that makes you want to dance.
00:17A bass line is one note that leads to another note
00:21that creates perfect painting.
00:24I'm in the right place at the right time.
00:27The bass is the flavor, it's the juice, it's the seasoning, right?
00:33It's a melody down low.
00:35It's the roots from which the part of the song grows.
00:41If you were from space and you wanted to know what a bass line was...
00:45It's the hands on the wheel of the car.
00:48Sexy, rude, low notes.
00:52Bass is a physical thing.
00:54It kind of hits you in the gut.
00:57My puns are shaking, my nose is tickling.
01:01I say yes.
01:02I like that.
01:04Fog horns.
01:05This big...
01:07Booms and it carries for miles.
01:09Well, if I didn't bass, I don't know what is.
01:11It's all about the groove, baby.
01:13I'm Peter Hook, the bass player from Joy Division and New Order.
01:19Peter Hook was a seminal influence.
01:23Peter Hook, the master of melodies with a pig.
01:29Talking about Peter Hook, what he does with Joy Division, it's like nothing else.
01:37All I've ever wanted to do is just keep playing the music I made back in the 80s and 90s with three other lads from Manchester.
01:45Basically, just doing my day job.
01:48Do you like being a rock star?
01:49I am a fucking rock star.
01:51What are you on about?
01:52What's he on about?
01:53Cheeky bastard.
01:55So, 50 years on, I'm still on the road playing with my new band, The Light.
02:00There's a noise for Peter Hook.
02:03There's something incredibly powerful in those arrangements of notes that reaches deep inside audiences.
02:09And together with a motley crew of other bass merchants, I'm gonna deep dive into what makes this instrument so special.
02:19And let you in on the story behind some of my own signature bass lines.
02:26Typical Japanese, it comes all this way, it's still in tune.
02:30And why they have stood the test of time.
02:34Listen, I'm not gonna put myself down.
02:36I've written some fantastic bass lines.
02:47Manchester is my spiritual home.
02:49Always has been and always will be.
02:51And my music couldn't have come from anywhere else.
02:57Growing up in Salford in the 70s.
03:00I had a lot of friends.
03:01It was great fun.
03:03I seem to remember I had a great time.
03:06I've been waiting for a guy to come and take me by the hand.
03:10It was a working class existence.
03:14Two up, two down, outside toilets.
03:17I had an outside toilet till I was 19.
03:20I was a little bit of a naughty boy and I got into trouble with the police a couple of times.
03:28Nothing to be proud of.
03:31I certainly wasn't proud of it.
03:33In the end, I saw an advert in the evening news in Manchester.
03:3750p, Sex Pistols.
03:40Phoned Barney up.
03:41I said, oh, that group I was telling you about are on.
03:43We should go and see them.
03:45Yes, I'm talking about that legendary Sex Pistols gig that thousands of Manx claim to have been at.
03:54Most of them weren't, but me and my best mate from school, Barney, were there.
04:01And for us, it was literally life-changing.
04:06I was spellbound.
04:08The energy in it was absolutely amazing.
04:12It was just a wail of feedback.
04:13It was so distorted.
04:18Screaming.
04:20You were just like, oh my God, what the hell?
04:24It made the biggest impression on me.
04:27It was young kids telling you to fuck off.
04:29It's exactly what I wanted to do to the world.
04:32And simply, I just thought, do you know what?
04:36I can tell everyone to fuck off as well.
04:39Teenage me, found being sworn at by Johnny Rotten, bizarrely inspiring.
04:44But little did I realize at the time that I was also under the spell of the Pistols' deceptively nonchalant bass player, Glenn Matlock.
04:52My artisanship is playing bass, and it's in service of the songs that I've written or the people that you're playing with.
05:00And it's to make the song work.
05:02I'm not into particularly fancy bass playing, but I don't mind a twiddly bit or two, but not three.
05:08When you first hear, never mind the bollocks, there's the Sex Pistols, it's a game changer of a record.
05:22And you listen to it now, and it sounds still phenomenal.
05:29You know, everyone used to say about punk only can't play and all that.
05:33I beg to differ.
05:35Glenn Matlock could play.
05:37I think one of the most important things in my kind of bass playing is when to change the octave.
05:45You know, because you can, you know, make a crescendo or you can...
05:52When you're just doing on the key in the UK.
05:58And when you're in the three-piece bands, you just want the bass to stick out because you want to be important, right?
06:03But if the key is, like, quite low, you can't nearly really hear it with all the murk of the guitar and the drum battering away.
06:13So that was a bit low, and I thought, well, you can hear that, but it's got not enough oomph to it.
06:18Whole good cues go.
06:33I see bass playing a bit like being a plumber or a carpenter.
06:45Can you put some bass on this? Yeah, that's... it cost you.
06:54I mean, it was an amazing learning curve from walking out of the Sex Pistols gig.
06:59And I suggested we formed a band.
07:04The Sex Pistols just showed me a way out of what we considered to be the drudgery of our everyday lives.
07:18Barney said to me, you need to get a bass because I've got a guitar.
07:22I said, right, and went to the shop the next day, Maisel's in Piccadilly.
07:29I must admit, I borrowed 35 quid off me mum.
07:32God rest her soul. Best 35 quid she ever spent.
07:36Me and Bernard Sumner, or Barney as I call him, became obsessed and set out in search of more members to fill our line up.
07:43We became avid punk gig goers and we kept seeing Ian at all the gigs and he'd be telling us about his band and we'd be telling him about our band.
07:54And it was only, funnily enough, when his drummer left that the guitarist gave up and Ian was on his own. So he joined us.
08:01So, Joy Division became me on bass, Barney on guitar and keys, Steve Morris on drums and Ian Curtis up front.
08:12And we went to work.
08:19When you've got no songs, it's dead easy to write them.
08:22We jammed more or less non-stop and everything that we wrote came from jams.
08:38We were rehearsing for two hours on a Wednesday and three hours on a Sunday afternoon because it was all we could afford to chip in and get, £1.15 an hour.
08:48And we'd do a song every time we got together.
08:55Yeah, I mean, and we were so prolific as Joy Division.
08:59We were writing these songs at 20, 21.
09:05When we were together in the group, we were very serious about what we were doing.
09:09But when we weren't, we were the biggest bunch of pisshead dickhead you've ever met in your life.
09:14And the thing is, is that we never took ourselves too seriously until we played.
09:23And then when we played, it was like, it was, it was very serious.
09:27But the rate at which we grew as musicians, it seemed like we'd been playing forever when we got to Shadowplay.
09:38And when we got to She's Lost Control.
09:41We'd been playing for ages and it was in fact, it was less than a year, 18 months at the most.
09:47And how, how did we do it? I haven't got a bleeding clue.
09:52All we did was we just kept at it and we kept doing it.
09:56Knowing Peter, he would have seen his contribution as being absolutely equal to anyone else in the band.
10:04I think that was the great thing about, you know, that era of music.
10:09There was a democratic attitude to how the instruments were dealt with and how the individuals were dealt with.
10:18I was never the type to sit in the background just keeping time.
10:22So I made the bass as loud as possible, melodic and upfront.
10:25And if I was going to play it, you were bloody well going to hear it.
10:30It's one of the hardest things is to have an identifiable sound.
10:34You know, how do you go about doing that?
10:36Giving it all that, you know, top line stuff that he's playing.
10:41Well, he's playing the bass line in there, but ain't the low stuff.
10:45Peter Hook's kind of carrying, carrying the tune.
10:49I took a few things from Peter Hook where I would have a vibrating string.
10:56Those sorts of things that, you know, Peter was doing.
11:11Peter's style is so unlike anything else.
11:14There is a guy who has got a sound and you can put your finger on it, you know,
11:19whereas I can't put my finger on what I do. You can with Pete.
11:21My style came about simply because Barney had copped for a wonderful amplifier,
11:28which was a UD-30 Vox combo.
11:33And it sounded, oh my God, it was just wonderful. It was absolutely fantastic.
11:38Now, unfortunately, I ended up with a £10 bass cabinet and a Sound City 120 amp head that was shit.
11:50So you couldn't hear the bass at all.
11:54But the only way I could get to hear it was if I went high up on the strings.
11:59So whenever I played high, Ian would literally go.
12:03And he'd go, play high, Occy, play high!
12:06You know, you're looking at she's lost control. God, all the classic Joy Divisions were through him shouting at me to play high.
12:19Starting off in the band, right, we just had the instruments, we had no fancy pedals, we had no fancy amps.
12:25The music had to come somehow from there.
12:28I remember reading something about Peter Hook saying,
12:30I was trying to hear myself over the noise in the rehearsal room.
12:33So I started playing higher up the neck.
12:35And I tried it and it actually works.
12:37God, my style! It always seems really weird to even talk about it.
12:40And the weird thing is, is that this hand plays rhythm and this one plays melodies.
12:46And they're completely separate.
12:49And I don't even play with four fingers, I play with three fingers.
13:01Three fingered bass player.
13:03Tone deaf, three fingered bass player.
13:10There's a brutality to it, there's an aggressiveness to the discord that he's working with.
13:21That's, that's what a torturer would do.
13:27And that's a lot of what Hookie was doing on that initial album.
13:31This was just, come on you fuckers, take notice of the bass.
13:34The fierce energy of punk had lit the fuse.
13:43But for us, post-punks, it was more about the music and the sound.
13:48Bands like the Stranglers and their bassist, John Jack Spinell, had so much more to offer.
13:55There was a thing that happened in the 80s, you know, when, you know, bass was the thing to do.
14:00The first time you heard Peaches, it was amazing.
14:08It was such a big deal when the bass line was it.
14:15There are times where you just want to strut something like Jean-Jacques Bonnell, and you know, you can't get more masculine than him.
14:27And I just remember hearing.
14:36And it was like, a whole world opened up for me.
14:40And I listened to that record.
14:43And for years, I went, how do you get that sound?
14:46Walking on the beaches, looking at the beaches.
14:50My new bass hero was Jean-Jacques because of the way his bass sounded.
14:55I went to see him at Bingley Hall in Stafford, and I was just absolutely mesmerized.
15:00And I actually stayed till the end, nearly had a fight with the bouncers, so that I could look at his gear and write it all down to get it.
15:09And I did. I actually did get his gear.
15:12I got a high watt 100, which was what he was using, and a 2x15 Vox cab.
15:20Sonically, Peaches is about as fat as they come, but it's that loping, swaggering timing that makes it a truly great bass line.
15:32I think Jean-Jacques would say it comes from reggae.
15:37I think it might have been a reggae track first.
15:40What was interesting about some of those early British bass players, particularly if they were London-based, was they did have this understanding of reggae.
15:50Reggae came in with punk. Don Letts at the Vortex would be playing reggae and all that, so it really was stood side by side.
16:02I liked the culture of reggae. It was warm-hearted. It had a spiritual sort of dimension to it as well.
16:11I remember in 1976 hearing Catch a Fire for the first time, and again, realizing that, you know, bass is a physical thing.
16:27It kind of hits you in the gut.
16:34This idea that the guitar was just clicking, and there was just so much room for the bass.
16:40Let's still it up.
16:43There's many things I love about reggae bass, but it's melodic.
16:47And you can sing those bass parts, you know what I mean? So if I go...
16:51See, look, if the camera people are shaking their heads, oh! Like, everything else is gravy. You can't have reggae without bass. Not gonna happen.
17:12Believe it or not, I actually lived in Jamaica for a few years when I was a kid.
17:22And Bob Marley was, of course, like a patron saint of the island, and still is.
17:28But his bass man, Aston Family Man Barrett, holds a special place in the hearts of bass players the world over.
17:36Aston Family Man Barrett really had a pulse and a groove, but it was very musical.
17:41Because there were a lot of Bob Marley songs, sort of major keys.
17:44But you can hear his lines, you can hear the very melodic lines.
17:49Satisfy my soul.
17:56Oh, please.
17:59Don't you run my boat.
18:03You hear that name? Family Man.
18:06That bass.
18:08Keeping the family together, man. Rocking.
18:10And you should know.
18:13Oh, oh, oh.
18:16I like it, I like it.
18:19The vibration of this island is mystical.
18:22The early Africans that give to this generation a foundation to stand on.
18:27They brought something with them that just can't change.
18:31And that defines the sound of the island.
18:37Bob Marley and the Whalers brought reggae to the world.
18:39But it's African roots echo deepest in this monumental Abyssinian's bass line from Leroy Sibbles.
18:52Sata Massagan is a song of message.
18:55It's about black people, repatriation, relating to the motherland.
19:04It was all about Africa.
19:06So I had to get in there now, you know, and write my parts to complement Africa too.
19:15You know?
19:16And the bass line now, I wanted a Rastaman bass line.
19:20Biblical in its feel and African in its sound, you know?
19:33Originally recorded in 1969, Sata Massaganah went on to become a cornerstone of Root Reggae, a true anthem of the movement.
19:41And through the decades, it's been reversioned by many great reggae artists.
19:48It worked.
19:49There is more Sata version than any other reggae song in the history of reggae music.
19:56They've called it reggae and...
20:02What can I say?
20:03You're good, man.
20:04I'm telling you.
20:05Hey!
20:06You're good.
20:07You're good.
20:08You're good.
20:09You're good.
20:10You're good.
20:11You're good.
20:12You're good.
20:13You're good.
20:14You're good.
20:15You're good.
20:16You're good.
20:18In all the bands that I've played in, there has never been a band like Joy Division.
20:23It was rock solid.
20:25Each member put so much equally into it, and that has never happened since.
20:31I was so happy when Ian would pick some of the melodies out from the bass guitar to use as the vocal.
20:47Love Will Tears Apart.
20:48We wrote it on a Wednesday night, and we left, and he said,
20:54Oh, you know what?
20:55I'm going to write some lyrics to that.
20:57I think it's going to be a good song, that one.
20:59And he came back on Sunday, and we finished it off on Sunday, so it took, like, five hours, four hours.
21:05He said, I've got some words here.
21:07Love Will Tears Apart.
21:08Do you mind if I sing the bass line?
21:10I said, mind?
21:11I said, I'm over the frickin' moon, mate.
21:22A lot of people got confused.
21:24They were, like, listening to Love Will Tears Apart and going, I love that guitar part, you know?
21:28But actually, it's a bass.
21:34Love Will Tears Apart.
21:38It was just literally me and Steve, we came up with this bit first.
21:41That was the first bit.
21:50And then...
22:00Ian said, why don't we put those two bits together?
22:03And so the song was that.
22:04Maybe it started some people on their bass journeys of playing bass, hearing that a bass could do something like that, you know?
22:16I know I was really inspired by that myself.
22:18You know, you hear something like...
22:21Like, it's just got so much to it, you know?
22:24It's got melody, it's got rhythm, it's got...
22:27It holds that root down of the music as well.
22:30And it's so melancholy as well.
22:32It's got so much emotion to it.
22:33You know?
22:34And it's so raw as well.
22:35What I love about Love Will Tears Apart, it's a heart-breaking song living in a song.
22:38It's just got so much to it, you know?
22:41It's got melody, it's got rhythm, it's got...
22:44It holds that root down of the music as well.
22:47What I love about Love Will Tears Apart, it's a heart-breaking song lyrically played as if it was the happiest song in the world.
23:10When you listen to the words, they are the death of a relationship and it's heartbreaking.
23:29And you listen to the music and it's just such a contradiction, such a contrast.
23:35It is one of the strangest songs that we ever did.
23:38The melancholy of it is a power.
23:42And that power to be able to reach into people's souls with words and music is, by God, it's invaluable.
23:51It's earth-shattering.
23:58This song about the pain Ian was feeling became Joy Division's enduring anthem.
24:03And it's a cruel irony that just a month before it was released, we lost him.
24:09It was very gradual. His illness started very gradually.
24:23It was his own worst enemy. He would not give in.
24:27He fought it. He fought it on stage. He fought it everywhere.
24:32It shouldn't have been a shock. But we were kids. We were 21. 22. I think we were 23 when he died.
24:39We didn't know our arse for our elbow, so we didn't know what to do.
24:43It kills me now when kids come up to me. And 18-year-old kids, 16-year-old kids, and they go, what was Ian like?
24:52And I'm thinking, he was just like you.
24:55He was no different. He was just a normal person that was able to do something that was truly extraordinary.
25:05There could be no Joy Division without Ian.
25:13But when we found ourselves assembled at the usual rehearsal space on the Monday after his funeral,
25:18it was clear we had to carry on.
25:21We renamed ourselves New Order.
25:24And just as the world around us was changing fast, so would our music.
25:29This wonderful newfound wealth and brightness that we found in the 80s did change our music.
25:46To us, it felt like the world was brighter.
25:50The music did get poppier.
25:54And at the dawn of the 80s, pop meant synths.
25:58Samplers, sequencers, and all manner of other machines.
26:04We started incorporating electronic elements.
26:07Barney had his synthesizer.
26:10We invested in a DR-55, which was a Boss Doctor Rhythm.
26:16And then we bought a ARP Omni string machine, and we started experimenting with that.
26:23Everything you needed to make a fantastic cocktail, which was what?
26:27Blue Mundy was.
26:28Just that drum beat that it starts with, that's such a hook.
26:39The drum machine, the riff, bum, bum, bum, bum, bum, bum, bum, bum.
26:45We nicked off a Donna Summer B-side.
26:52The kick drum came from ARLOV by Donna Summer, produced by Giorgio Moroda, where he put a delay on the kick drum, so it went dum, dum, dum, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da.
27:02the beat was pure giorgio moroda but the inspiration for the baseline itself came from
27:09another very famous italian composer we were listening to a lot of ennio morricone and we
27:15were watching the films in good bad and the ugly it just came from that me doing that
27:20still gives me goosebumps that song
27:39it has an impact that has not waned to now
27:44how does it feel it's incredible i mean it's still so popular there was a um a poll in mixmag
27:54with djs so it's all going downhill you can't get anyone dancing what song do you put on
27:59and it was blue monday by a thousand votes out of a thousand and you were like wow
28:07blue monday is still the best-selling 12-inch single of all time and much of the proceeds
28:12back in 1982 were plowed into the building of the music haven in central manchester the wonderful
28:18hacienda the grand vision of factory records founder tony wilson tony wanted to open a place like an
28:26orphanage where we could all get together and be together all the little all those little weirdos
28:33that came out of punk
28:35well we're ready
28:38i probably was on the cusp of being sacked a few times for uh being in the asian
28:44i would just say i was out studying grooves
28:51the original house thing and it's all you're programmed anyway and whatever machines and that
28:56was the base zenith you know it really does when baselines are really carrying tunes there was one
29:03machine that changed bases in darts video forever and it's this strange little thing the ronan tb 303
29:12baseline which was invented for um guitarists and singer-songwriters to use a drum machine and a
29:19program baseline so they didn't have to pay for a backing band it's got a lovely resonant low end until you
29:25tweak the resonance and then it does that acid noises this changed the way that the sequence
29:32bass lines sounded more than anything the baseline in modern dance music is still the the basis of the
29:40groove it's normally the thing that you latch onto first it's the thing that drives the song and it's
29:46the conduit between the drums and the melody so it just sits in the middle dependable sexy like all
29:54bass players it just you know fulfills that role in the middle and you've got the twinkly stuff at
29:59the top and you've got the the thump of the drums at the bottom but in i mean some of my favorite
30:04dance records are just a you know and they're just a bass line
30:07listen to this a little bit of percussion for tickle
30:20four on the floor
30:23i could dance to that all night
30:27and what and the big bit is it just breaks down to just the bass
30:30there's something in bass culture that it does it doesn't scream at you it's the thing that you're
30:39dancing to you you think you're you're listening to the to the top line or you're listening to the
30:44guitar solo but in fact what you're dancing to is the bass so in the kind of dance music that i play as
30:49a dj is absolutely paramount
30:53djing is really about feeding the crowd in electronic music bass is like one of the most
31:00important parts so when there's like a strong bass drop you really see the crowd's reaction
31:08djing is such a different thing from playing in a band but at the same time there are some common
31:13factors you can really see the crowd's reaction because they're not looking at the show they're
31:20just there to dance so i think the focus is completely on the music
31:26it's really simple but very hooky whether or not you're a musician or a dj
31:33you're still looking for things that people will identify with it things that will move them things
31:38that will resonate with them you know a groove that they're going to latch on to
31:43you know a new order already had one foot in the indie chart and one on the dance floor but when
31:49ecstasy took off and turbocharged clubbing at the beginning of the 90s we found ourselves in the eye
31:55of a perfect storm new order went to clubs in ibiza and heard that sound that's where manchester rock
32:03bands met disco we went to ibiza and saw the impact that ecstasy had on people in those clubs
32:13and you watched it grow and change this eclectic mix of music of where you had an indie tune and a
32:20dance tune and then a rap tune and all this lot put together suddenly everyone was on ecstasy and
32:27they danced all the time
32:33and then by the time we'd got back from ibiza and ecstasy had landed in england the same thing happened in
32:39in 1987 when we came back from ibiza the hacienda was a completely different animal it was sold out
32:50constantly it was riddled with drugs the atmosphere was crazy it was absolutely fucking nuts
33:00they do say that drum machines were invented so the singer doesn't have to talk to the drummer
33:11play
33:13look at that it's amazing if you imagine a little little fella with eight arms in there it's got a lot of
33:19practical implication and they say that bass synthesizers were invented so the singer didn't
33:25have to talk to the bass player and i think most lead singers would probably agree just loads of
33:29different sounds you got 120 sounds in it are you a computer programmer or a musician
33:37uh neither neither looking back now i realize how quickly things changed as we got the new equipment
33:45the more machinery you got the more barney was able to layer the songs up and then every time he put a
33:54new layer on your window started to close you'd be going oh should we just play now should we just play on it now
34:04so yeah it became a bit of a bone of contention
34:08i knew the bass was important to joy division i knew the bass was important to new order
34:13and i remember when them three turned around for the first time and asked me not to play on the track
34:19i was like you cheeky bastards
34:25i something i would never do to anybody oh god i was i was aghast and i ended up playing on the
34:32fucking track anyway because i wanted to know for an answer fuck off i suppose i should have known then
34:40what was coming
34:46regret was the last song that new order wrote together because afterwards bernard decided that
34:55he wanted to write on his own and it was very sad at the time
35:08yeah it was a weird song to finish on because it was so good
35:39one two three four
35:44the beauty of a great baseline isn't what you play but how you play it and also knowing when not to
35:50play that's what we call feel and the man who influenced us all was one of the masters of motown's
35:55bass lines james jameson if you listen to marvin gay's what's going on album and how he's playing so
36:05funky and beautiful it's not about the baseline per se it's about how he's walking around it and
36:10controlling and using the roots with the fists like it's just so beautiful complex simple creating
36:20riffs that make people want to dance
36:31there have been a few bass revolutions and i would say that james james jameson
36:35maybe was the first electric bass revolution maybe he taught us that bass didn't just have to be this
36:42thing in the back it could be like really fanciful and melodic as long as you found a way to keep
36:50the music grooving while you did that and so i think we all came from him in a way
37:01james james jameson is in my top three of bass players of all time just
37:07the amount of groove he did he poured out you know he's probably played on virtually 90 odd percent
37:13of all motown records and not necessarily the most complex agrees but is on the money every time
37:20i'd kill for one-tenth of that guy's talent i really really would if you listen to the isolated
37:25bass part of what's going on any of james jameson's isolated bass parts and you just listen to the
37:31complexity of the rhythm and the subtlety of the notes and the harmony he's an absolute master who
37:38created the the history of of great bass parts he's the sound of motown for me just incredible
37:50and some of the stuff's like ultra complicated and then you get papa was a rolling stone which
37:55is like the simplest bass riff but probably the one of the greatest bass riffs of all time for me
38:02anyway because it was like oh i can play that and that's all it is like it's almost like a
38:21like as simple as that
38:25jameson's influence is omnipresent in bass spanning decades and genres listen carefully and you'll
38:31hear it in heavy metal turn up the volume pop punk and reggae james jameson great influence
38:42the mark the fuck i use one of his licks in um ziggy marley's album the song is cosmic his one drop but
38:52kind of scar tempo but the lick is what i'm talking about
39:08that's a jameson lick anyone who plays bass and know jameson can say ah that's a jameson lick
39:15that bass player is amazing there was a song that i a bowie song that i did on the next day album
39:21called the stars are out tonight and that's that same kind of motown pattern it has that rolling
39:27bass line so it's kind of a it's it's like once you jump on this one is like you're on the train
39:33and it's just going and it's nice and it's steady
39:45and everything else is kind of floating around that but that's just like kind of the chugging of the
39:50trench and it just plows ahead those are kind of my favorite bass lines and that's very motown
39:57so that's kind of the groove of the song but then last verse gotta jazz it up a little bit ah how
40:08about something that's a bit james jameson i start the second middle eight
40:19all right here's the james jameson bit
40:25yes even the sex pistol's biggest hit borrowed from jameson for a little extra flair amongst the
40:36fury
40:39james jameson's motown bass line sound as good now as they did a half century ago
40:45and i knew there was a new audience who were hungry to hear joy division and new orders
40:49classics played live instead of in those little earpods so when barney and steve quit playing live
40:56there was only one thing to do i had to start my own band but that gave me a problem sadly i can't
41:04sing and play bass at the same time if only there was a way to clone yourself
41:13do you want tea darling yes please
41:19i never pushed it on you did i no they were just well we had a load in the house didn't we
41:24so that just pretty natural i remember you i remember you saying you weren't going to teach me
41:29because you should you shouldn't teach me because you'll just end up sounding like me which is what
41:35you said and then the hilarious thing was that for the last 15 years it's been my exact job to sound
41:41like you it's not traditional bass playing i guess it's very unique and it's almost like you're the sort
41:49of lead guitar player which not a lot of bass players get to experience my favorite moment
41:57on stage is when you walk on and you get your smattering of applause or whatever and you stand
42:03there and i look around to look at my son and go yeah chip off the old block wonderful and to look
42:10round and then think okay now in a minute we're going to take your head off
42:20and it's just amazing moment that's why it's so bloody addictive
42:30to think that we play the light more or less the same as joy division did
42:39because i insisted on it because that's what makes me happy to see that move people to tears
42:50it was a wonderful wonderful thing to do and ian's greatest wish was for joy division to be big
42:57all over the world and he used to say to me okay we're going to be big in brazil we're going to be
43:03big in portugal we're going to be big in peru
43:09and he never made it to any of them and that is the wonderful thing now for me to be able to go to
43:15mexico and see the way the music is appreciated and goes down and how much love there is for him
43:22and our music that is the best thing in the world and all i did
43:36is
43:49No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
44:19You
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