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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 pints 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.
01:25Peter Hook, the master of melodies with a pig.
01:30Talking 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.
01:59There'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 going to deep dive into what makes this instrument so special.
02:18And 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 going to put myself down. I've written some fantastic bass lines.
02:47Manchester is my spiritual home. Always has been and always will be.
02:52And my music couldn't have come from anywhere else.
02:55Growing up in Salford in the 70s, I had a lot of friends. It 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.
03:09It was a working class existence. Two up, two down, outside toilets. I 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. I certainly wasn't proud of it.
03:32In the end, I saw an advert in the evening news in Manchester.
03:3750p, Sex Pistols, phoned Barney up and said,
03:41Oh, that group I was telling you about are on. We should go and see them.
03:44Yes, 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. The energy in it was absolutely amazing.
04:12It was just a whale of feedback. It was so distorted.
04:15We're so pretty, we're so pretty.
04:19Screaming. You were just like, Oh my God, what the hell?
04:24It made the biggest impression on me.
04:26It was young kids telling you to fuck off.
04:30It's exactly what I wanted to do to the world.
04:33And simply, I just thought,
04:36Do you know what? I 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 realise at the time that I was also under the spell of the Pistols,
04:49deceptively nonchalant bass player, Glenn Matlock.
04:52My artisanship is playing bass, and it's in service of the songs that I've written,
04:59or the people that you're playing with, and it's to make the song work.
05:03I'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 Nevermind the Bollocks, there's the Sex Pistols, it's a game-changer of a record.
05:23And you listen to it now, and it sounds still phenomenal.
05:28You know, everyone used to say about punk only can't play and all that.
05:33I beg to differ.
05:36Glenn Matlock could play.
05:40I think one of the most important things in my kind of bass playing is when to change the octave.
05:45You know, cos you can, you know, maybe go crescendo, or you can...
05:51I'm just doing that on the key in the UK.
05:58And when you're in the three-piece bands, you just want the bass to stick out cos you want to be important.
06:03to be important right but if the key is like quite low you can't nearly really hear it with all the
06:10murk of the guitar and the drum battering away so that was a bit low and i thought
06:15well you can hear that but it's got not enough to it holger q's got
06:33i see bass playing a bit like being a plumber or a carpenter can you put some bass on this yeah
06:46that's i mean it was an amazing learning curve from walking out of the sex pistols gig and i
07:00suggested we formed a band the sex pistols just showed me a way out of what we considered to be
07:09the drudgery of um our our everyday lives barney said to me you need to get a bass because i've got a
07:22guitar i said right and went to the shop the next day mazel's in piccadilly i must admit i borrowed
07:3035 quid off me mom god rest her soul best 35 quid she ever spent me and bernard sumner or barney as
07:39i call him became obsessed and set out in search of more members to fill our lineup we became avid
07:45punk gig goers and we kept seeing ian at all the gigs and he'd be telling us about his band
07:51and we'd be telling him about our band and it was only funnily enough when his drummer
07:57left that the guitarist gave up and ian was on his own so he joined us so joy division became me on
08:05bass barney on guitar and keys steve morris on drums and ian curtis up front and we went to work
08:13when you've got no songs it's dead easy to write them
08:26we jammed more or less non-stop and everything that we wrote came from jams
08:33we were rehearsing for two hours on a wednesday and three hours on a sunday afternoon because it was
08:44all we could afford to chip in and get one pound 15 hour and we'd do a song every time we got together
08:51yeah i mean and we were so prolific as joy division we were writing these songs at 20
09:0321 when we were together in the group we were very serious about what we were doing but when we weren't
09:10we were the biggest bunch of piss head dickhead you've ever met in your life and the thing is is
09:18that we never took ourselves too seriously until we played and then when we played it was like it was
09:26it was very serious but the rate at which we grew as musicians it seemed like we'd been playing forever
09:35when we got to shadow play um and when we got to she's lost control we've been playing for ages and
09:43it was in fact it was less than a year 18 months at the most and how how did we do it i haven't got
09:51a bleeding clue all we did was we just kept at it and we kept doing it knowing peter he would have seen
09:59his contribution as being absolutely equal to anyone else in the band i think that was the
10:05great thing about you know that era of music there there was a democratic attitude to how the
10:13instruments were dealt with and how the individuals were dealt with i was never the type to sit in the
10:20background just keeping time so i made the bass as loud as possible melodic and up front and if i was
10:26going to play it you were bloody well going to hear it it's one of the hardest things is to have an
10:32identifiable sounds you know how do you go about doing that giving it all that you know top line
10:38stuff that he's playing well he's playing the baseline in there but i ain't the low stuff peter
10:44hooks kind of kind of carrying carrying the tune i took a few things from peter hook where i would
10:52have a vibrating string those sorts of things and you know peter was doing
11:11his style is so unlike anything else there is a guy who has got a sound and you can you can put your
11:17finger on it you know whereas i can't put my finger on what i do you can repeat my style came about
11:23simply because barney had copped for a wonderful amplifier which was a ud30 vox combo and it sounded
11:34oh my god it was just wonderful it was absolutely fantastic now unfortunately i ended up with a 10
11:41pound uh bass cabinet and um a sound city 120 amp head that was so 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 so whenever i played high
12:00ian would literally go and he'd go play high hockey play high you know you're looking at she's lost
12:12control god all the classic joy divisions were through him shouting at me to play high starting
12:20off in the band right we just had the instruments we had no fancy pedals we had no fancy amps the music
12:25had to come somehow from there i remember reading something about peter hook saying i was trying
12:30to hear myself over the noise in the rehearsal room so i started playing higher up the neck
12:35and i tried it and it actually works god 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 and they're completely
12:48separate and i don't even play with four fingers i play with three fingers
13:01three-fingered bass player tone deaf three-fingered bass player
13:10there's a brutality to it there's an aggressiveness to the discord that he's working with
13:16that's that's what a torturer would do
13:27and that's a lot of what hooky was doing on that initial album this was just come on you
13:32fuckers take notice of the bass
13:39the fierce energy of punk had lit the fuse but for us post-punks it was more about the music
13:46and the sound bands like the stranglers and their bassist john jack spinel had so much more to offer
13:52there was a thing that happened in the 80s you know when your bass was the thing to do
14:04the first time you heard peaches it was amazing
14:07it was such a big deal when the bass line was it
14:19there are times where you just want to strut something like
14:23jean-jacques bonnell and you know you can't get more masculine than him
14:30and i just remember hearing
14:36and it was like a whole world opened up for me and i listened to that record
14:42and for years i i went how do you get that sound my new bass hero was john jacks because of the way his bass sounded
14:55i went to see him at bingley hall in stafford and i was just absolutely mesmerized and i actually
15:01stayed till the end nearly had a fight with the bouncers so that i could look at his gear and write
15:07it all down to get it and i did i actually did get his gear i got a high watt 100 which was what he was
15:16using and a two by 15 vox cab
15:23sonically peaches is about as fat as they come but it's that loping swaggering timing that makes it a
15:29truly great bass line i think jean-jacques would say it it comes from reggae
15:37i think it might have been a reggae track first what was interesting about some of those early british
15:43based players particularly if they were london based was they did have this understanding of reggae
15:52reggae came in with punk don let's uh the vortex would be playing reggae and all that so it was it
16:00was it really was stood side by side i liked the culture of reggae it was um warm-hearted
16:08it had a spiritual sort of dimension to it as well
16:17i remember in 1976 hearing catch a fire for the first time and again realizing that you know bass is a
16:26is a physical thing it it it 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
16:43there's many things i love about reggae bass but it's melodic and you can sing those bass parts you
16:49know what i mean so if i go
17:05see look if the camera people are shaking their heads oh like everything else is it's gravy you can't
17:11have reggae without bass not gonna happen believe it or not i actually lived in jamaica for a few
17:21years when i was a kid and 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
17:34world over aston family man barrett really had a pulse and a and a groove but it was very musical
17:42because a lot of bob marley songs with major keys baby you can hear his lines you can hear the very
17:47melodic lines
17:53satisfy my soul
18:03you hear that name family man that bass keeping the family together man rocking
18:10the vibration of this island is mystical the early africans that give to this generation of foundation
18:26to stand on they brought something with them that just can't change and that defines the sound of the
18:33island bob marley and the whalers brought reggae to the world but his african roots echo deepest in this
18:42monumental abyssinian's baseline from leroy sibyl's
18:52sata masagan is a a song of message it's about black people repatriation relating to the motherland
19:04it was all about africa so i had to get in there now you know and write my parts to complement
19:13africa too you know and the baseline now i wanted a rastaman baseline
19:23biblical in its feel and african in its sound
19:28originally recorded in 1969 sata masagana went on to become a cornerstone of roots reggae
19:39a true anthem of the movement and through the decades it's been reversioned by many great reggae artists
19:45it worked there is more sata version than any other reggae song in the history of reggae music they've
19:57called it reggae anthem
20:03i'm telling you
20:15in all the bands that i've played in there has never been a band like joy division
20:23it was rock solid each 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
20:42the band like a song that you can do and i think it's going to be a good song that one
21:00and he came back on sunday and we finished it off on sunday so it took like five hours four hours
21:06He said, I've got some words here, Love Will Tears Apart.
21:08Do you mind if I sing the bass line?
21:10I said, mind? I said, I'm over the frickin' moon, mate.
21:13Love will tear apart again
21:17A lot of people got confused.
21:24They were, like, listening to Love Will Tears Apart and go,
21:26I love that guitar part, you know, but actually it's a bass.
21:34Love Will Tears Apart.
21:36It was just literally me and Steve, we came up with this bit first.
21:48That was the first bit, and then...
22:00So Ian said, why don't we put those two bits together?
22:03And so the song was that.
22:06Maybe it started some people on their bass journeys of playing bass,
22:15hearing that a bass could do something like that, you know?
22:17I know I was really inspired by that myself.
22:19You know, you hear something like...
22:22Like, it'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, and it's so melancholy as well.
22:49It's got so much emotion to it, you know, and it's so raw as well.
22:52What I love about Love Will Tears Apart, it's a heartbreaking 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.
23:28And 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, and that power to be able to reach into people's souls with words and music is, my God, it's invaluable.
23:52It'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,
24:08we lost him.
24:18It was very gradual.
24:19His illness started very gradually.
24:23He was his own worst enemy.
24:25He would not give in.
24:28He fought it.
24:29He fought it on stage.
24:31He fought it everywhere.
24:32It shouldn't have been a shock, but we were kids, we were 21.
24:3622, I think we were 23 when he died.
24:39We didn't know our ass from our elbow, so we didn't know what to do.
24:43It kills me now when kids come up to me.
24:46And 18-year-old kids, 16-year-old kids, and they go, what was Ian like?
24:53And I'm thinking, he was just like you.
24:58He was no different.
24:59He was just a normal person that was able to do something that was truly extraordinary.
25:05There could be no Joy Division without Ian, but when we found ourselves assembled at the
25:15usual rehearsal space on the Monday after his funeral, it was clear we had to carry on.
25:22We renamed ourselves New Order, and just as the world around us was changing fast, so would
25:28change our music change our music change our music.
25:34This 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.
25:52And at the dawn of the 80s, pop meant synths, samplers, sequencers, and all manner of other
26:01machines.
26:04We started incorporating electronic elements.
26:07Barney had his synthesizer.
26:10We invested in a DR-55, which was a Boss Doctor Rhythm, and then we bought a ARP Omni string
26:21machine, and we started experimenting with that.
26:23Everything you needed to make a fantastic cocktail, which was what Blue Mundy was.
26:36Just that drumbeat that it starts with, that's such a hook.
26:42The drum machine, the riff, boom, boom, boom, boom, boom, boom, boom, boom.
26:45We nicked off a Donna Summer B-side.
26:52The kick drum came from, ARLOV by Donna Summer, produced by Giorgio Moroder, when he put a
26:58delay on the kick drum, so he went...
26:59Dum, dum, dum, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da.
27:04The beat was pure Giorgio Moroder, but the inspiration for the baseline itself came from another very famous
27:10famous Italian composer.
27:12We were listening to a lot of Ennio Morricone
27:15and we were watching the films
27:16in Good, Bad and the Ugly.
27:18It just came from that, me doing that.
27:26And then it became...
27:35It still gives me goosebumps, that song.
27:37It has an impact
27:40that has not waned
27:43to now.
27:47It's incredible, I mean, it's still
27:49so popular.
27:50There was a poll
27:53in Mixmag with DJs
27:55saying, it's all going downhill,
27:57you can't get anyone dancing, what song do you put on?
27:59And it was Blue Monday.
28:01By a thousand votes
28:02out of a thousand.
28:04And you were like, wow.
28:07Blue Monday
28:08is still the best-selling 12-inch single
28:10of all time.
28:11And much of the proceeds
28:12back in 1982
28:13were ploughed into the building
28:15of the music haven
28:16in central Manchester,
28:18the wonderful Hacienda.
28:20The grand vision
28:21of Factory Records founder
28:22Tony Wilson.
28:24Tony wanted to open a place
28:26like an orphanage
28:27where we could all get together
28:29and be together
28:30all the little,
28:31all those little weirdos
28:33that came out of punk.
28:34I probably was
28:39on the cusp
28:40of being sacked
28:40a few times
28:41for being in the Hacienda.
28:44I would just say
28:45I was out
28:46studying grooves.
28:47The original house thing
28:52and it's all your
28:53programmed 808
28:54and whatever machines
28:56and that was the base
28:57at Zenith, you know,
28:58it really does,
29:00when bass lines
29:00are really carrying tunes.
29:02There was one machine
29:04that changed basses
29:05in Danceville
29:06and it's this strange little thing,
29:10the Roland TB-303 bass line,
29:12which was invented
29:13for guitarists
29:16and singer-songwriters
29:17to use a drum machine
29:18and a programmed bass line
29:20so they didn't have to pay
29:20for a backing band.
29:22It's got a lovely resonant low end
29:24until you tweak the resonance
29:26and then it does that
29:27pew pew pew pew pew pew pew
29:28acid noises.
29:29This changed the way
29:31that sequence bass lines
29:33sounded more than anything.
29:35The bass line
29:35in modern dance music
29:37is still the basis
29:39of the groove.
29:40It's normally the thing
29:42that you latch onto first.
29:44It's the thing
29:44that drives the song
29:45and it's the conduit
29:47between the drums
29:48and the melody.
29:50It just sits in the middle,
29:52dependable, sexy,
29:54like all bass players.
29:55It just, you know,
29:56fulfills that role
29:57in the middle
29:57and you've got
29:58the twinkly stuff
29:59at the top
29:59and you've got
30:00the thump of the drums
30:01at the bottom.
30:02But in, I mean,
30:03some of my favourite
30:04dance records
30:04are just a, you know,
30:05they're just a bass line.
30:10Listen to this.
30:15A little bit of percussion,
30:16the tickle.
30:19Four on the floor.
30:23I could dance to that all night.
30:28And the big bit is
30:29it just breaks down
30:29to just the bass.
30:30There's something
30:33in bass culture
30:36that it does,
30:37it doesn't scream at you.
30:38It's the thing
30:39that you're dancing to.
30:40You think you're
30:41listening to the top line
30:43or you're listening
30:44to the guitar solo,
30:45but in fact,
30:45what you're dancing to
30:46is the bass.
30:47So in the kind of dance music
30:48that I play as a DJ,
30:49it is absolutely paramount.
30:53Teaching is really about
30:55feeding the crowd.
30:57In electronic music,
30:58bass is like one
30:59of the most important parts.
31:01So when there's
31:02like a strong bass drop,
31:04you really see
31:04the crowd's reaction.
31:09DJing is such
31:09a different thing
31:10from playing in a band,
31:11but at the same time
31:12there are some
31:13common factors.
31:15You can really see
31:17the crowd's reaction
31:18because they're not
31:18looking at the show.
31:20They're just there to dance.
31:21So I think the focus
31:22is completely on the music.
31:26It's really simple,
31:28but very hooky.
31:29Whether or not
31:29you're a musician
31:31or a DJ,
31:33you're still looking
31:34for things that people
31:35will identify with it,
31:37things that will move them,
31:38things that will resonate
31:38with them,
31:40you know,
31:40a groove that they're
31:41going to latch on to.
31:45New Order already
31:46had one foot in the indie chart
31:48and one on the dance floor,
31:49but when Ecstasy took off
31:50and turbocharged clubbing
31:52at the beginning
31:52of the 90s,
31:53we found ourselves
31:54in the eye
31:55of a perfect storm.
31:56New Order went to clubs
31:58in Ibiza
31:59and heard that sound.
32:01That's where
32:02Manchester rock bands
32:04met disco.
32:05We went to Ibiza
32:07and saw the impact
32:09that Ecstasy had
32:11on people
32:12in those clubs
32:13and you watched it grow
32:15and change.
32:16This eclectic mix
32:17of music
32:18of where you had
32:19an indie tune
32:20and a dance tune
32:21and then a rap tune
32:23and all this lot
32:23put together,
32:24suddenly everyone
32:27was on Ecstasy
32:27and they danced
32:28all the time.
32:33And then by the time
32:34we'd got back
32:35from Ibiza
32:36and Ecstasy
32:37had landed in England,
32:38the same thing
32:39happened in England.
32:41In 1987
32:43when we came back
32:44from Ibiza,
32:45the Hacienda
32:45was a completely
32:47different animal.
32:49It was sold out
32:50constantly,
32:51it was riddled
32:52with drugs,
32:54the atmosphere
32:54was crazy.
32:57It was absolutely
32:58fucking nuts.
33:06They do say
33:07that drum machines
33:08were invented
33:09so the singer
33:09doesn't have to
33:10talk to the drummer.
33:11Play!
33:13Look at that.
33:14Oh man.
33:14It's amazing.
33:16If you imagine
33:16a little fella
33:17with eight arms in there,
33:19it's got a lot
33:19of practical implication.
33:21And they say
33:22that bass synthesizers
33:23were invented
33:24so the singer
33:25didn't have to
33:25talk to the bass player.
33:26And I think
33:27most lead singers
33:28would probably agree.
33:29Just loads of
33:29different sounds.
33:30You've got 120 sounds
33:31in it.
33:34Are you a computer
33:34programmer
33:35or a musician?
33:38Neither.
33:39Neither.
33:40Looking back now
33:41I realise how quickly
33:42things changed
33:44as we got
33:44the new equipment.
33:45The more machinery
33:46you got,
33:47the more Barney
33:49was able to layer
33:51the songs up
33:52and then every time
33:53he put a new layer on
33:55your window
33:57started to close.
34:00He'd be going,
34:01oh, should we just
34:01play now?
34:02Should we just
34:02play on it now?
34:04So yeah,
34:05it became a bit
34:05of a bone of contention.
34:06I knew the bass
34:09was important
34:10to Joy Division.
34:11I knew the bass
34:12was important
34:12to New Order.
34:14And I remember
34:15when them three
34:15turned round
34:16for the first time
34:17and asked me
34:17not to play
34:18on a track.
34:19I was like,
34:20you fucking
34:21cheeky bastards.
34:25That is something
34:26I would never
34:27do to anybody.
34:29Oh God,
34:30I was aghast
34:32and I ended up
34:32playing on the
34:33fucking track anyway
34:33because I wouldn't
34:34say no for an answer.
34:35Fuck off.
34:36I suppose
34:37I should have
34:38known then
34:38what was coming.
34:46Regret was
34:48the last song
34:49that New Order
34:50wrote together
34:51because afterwards
34:53Bernard decided
34:55that he wanted
34:56to write on his own
34:57and it was
34:59very sad at the time.
35:06Yeah, it was a weird
35:23song to finish on
35:25because it was so good.
35:29One, two, three, four.
35:43The beauty of a great
35:45bass line
35:45isn't what you play
35:47but how you play it
35:48and also knowing
35:49when not to play.
35:50That's what we call
35:51feel
35:52and the man
35:53who influenced us
35:53all
35:54was one of the
35:54masters of Motown's
35:55bass lines,
35:56James Jameson.
35:58If you listen to
36:00Marvin Gaye's
36:00What's Going On album
36:01and how he's playing
36:04so funky and beautiful,
36:06it's not about
36:06the bass line per se,
36:08it's about how he's
36:09walking around it
36:10and controlling
36:11and using the roots
36:13with the fists.
36:15Like, it's just
36:16so beautiful,
36:18complex,
36:19simple,
36:20creating riffs
36:21that make people
36:23want to dance.
36:24Oh, what's going on?
36:27What's going on?
36:29Yeah, what's going on?
36:31There have been
36:32a few bass revolutions.
36:34I would say
36:34that James Jameson
36:35maybe was the first
36:36electric bass revolution.
36:38Maybe he taught us
36:39that bass didn't
36:41just have to be
36:42this thing in the back.
36:43It could be, like,
36:44really fanciful
36:46and melodic
36:47as long as you found
36:49a way to keep
36:50the music grooving
36:51while you did that.
36:53And so I think
36:54we all came from him
36:56in a way.
36:56Oh, what's going on?
37:00What's going on?
37:01James Jameson
37:02is in my top three
37:04of bass players
37:05of all time.
37:06Just the amount of groove
37:09he poured out.
37:10Yeah, he's probably
37:11played on virtually
37:1290-odd percent
37:13of all Motown records
37:14and not necessarily
37:16in the most complex
37:17of graves,
37:17but he's on the money
37:18every time.
37:20I'd kill for one-tenth
37:21of that guy's talent.
37:22I really, really would.
37:23If you listen
37:24to the isolated bass part
37:26of what's going on,
37:27any of James Jameson's
37:28isolated bass parts,
37:30and you just listen
37:31to the complexity
37:32of the rhythm
37:32and the subtlety
37:34of the notes
37:35and the harmony,
37:36he's an absolute master
37:38who created
37:39the history
37:41of great bass parts.
37:45He's the sound of Motown
37:47for me.
37:47He's just incredible.
37:50And some of the stuff's
37:51like ultra-complicated.
37:53And then you get
37:54Papa was a Rolling Stone,
37:55which is like
37:56the simplest bass riff,
37:57but probably
37:58one of the greatest
38:00bass riffs
38:01of all time
38:02for me anyway.
38:03Because it was like,
38:04I can play that.
38:10And that's all it is.
38:16It's almost like a...
38:19Like, as simple as that.
38:23James Jameson's influence
38:26is omnipresent in bass,
38:28spanning decades
38:29and genres.
38:30Listen carefully
38:31and you'll hear it
38:32in heavy metal,
38:33pop, punk,
38:35and reggae.
38:38James Jameson,
38:40great influence.
38:42The Mark Terfaker
38:43used one of his licks
38:45in Ziggy Marley's album.
38:49The song is cosmic.
38:51It's one drop
38:52but kind of
38:53scat tempo.
39:00But the lick
39:01is what I'm talking about.
39:08That's a Jameson lick.
39:10Anyone who plays bass
39:11and knows Jameson
39:12can say,
39:13ah, that's a Jameson lick.
39:14That bass player
39:16is amazing.
39:17There was a song that I...
39:18a Bowie song
39:19that I did on the Next Day album
39:21called The Stars Are Out Tonight.
39:23And that's that same
39:24kind of Motown pattern.
39:25It has that rolling
39:26bass line.
39:28So it's kind of a...
39:30It's like once you jump on,
39:32this one is like
39:33you're on the train.
39:33And it's just going
39:34and it's nice
39:35and it's steady.
39:36And everything else
39:46is kind of floating
39:47around that
39:48but that's just like
39:49kind of the
39:49chugging of the train
39:50and it just plows ahead.
39:54Those are kind of
39:55my favourite bass lines
39:56and that's very Motown.
39:57Managee in the UK.
40:02So that's kind of
40:03the groove of the song
40:04but then
40:04last verse
40:05I've got to jazz it up
40:07a little bit.
40:07Ah, how about something
40:09that's a bit
40:09James Jameson.
40:12I start the second
40:13middle eight.
40:19Ah, here's the
40:20James Jameson bit.
40:21Yes, even the
40:31Sex Pistols' biggest hit
40:32borrowed from Jameson
40:33for a little extra
40:34flair amongst the fury.
40:39James Jameson's
40:40Motown bass line
40:41sound as good now
40:42as they did
40:43a half century ago.
40:45And I knew
40:45there was a new audience
40:47who were hungry
40:47to hear Joy Division
40:48and New Order's
40:49classics played live
40:50instead of in
40:51those little earpods.
40:53So when Barney
40:54and Steve
40:55quit playing live
40:56there was only
40:57one thing to do.
40:58I had to start
40:59my own band
41:00but that gave me
41:01a problem.
41:03Sadly, I can't sing
41:04and play bass
41:05at the same time.
41:06If only there was
41:08a way to clone
41:09yourself.
41:13Do you want tea,
41:14darling?
41:14Yes, please.
41:19I never pushed it
41:20on you, did I?
41:21No, we had a load
41:23in the house, didn't we?
41:24Yeah, yeah.
41:24So that was
41:25pretty natural.
41:27I remember you saying
41:28you weren't going
41:29to teach me
41:29because you shouldn't
41:32teach me
41:32because you'll just
41:33end up sounding
41:34like me,
41:35which is what you said.
41:36Now you do.
41:37And then the
41:37hilarious thing was
41:38that for the last
41:3915 years it's been
41:40my exact job
41:41to sound like you.
41:42It's not traditional
41:43bass playing,
41:44I guess.
41:45It's very unique
41:47and it's almost
41:48like you're
41:49the sort of
41:49lead guitar player
41:50which not a lot
41:52of bass players
41:53get to experience.
41:56My favourite
41:57moment on stage
41:58is when you walk
41:59on and you get
42:00your smattering
42:01of applause
42:02or whatever
42:02and you stand there
42:04and I look round
42:04to look at my son
42:05and go,
42:06yeah,
42:07chip off the old
42:08block, wonderful.
42:09And to look round
42:10and then think,
42:11fucking hell,
42:11in a minute
42:12we're going to
42:12take your fucking
42:13head off.
42:20And it's just
42:21amazing moment
42:22and that's why
42:23it's so bloody
42:24addictive.
42:30To think that
42:32we play
42:33the light
42:34more or less
42:36the same
42:37as Joy Division
42:37did
42:38because I
42:39insisted on it
42:40because that's
42:41what makes me
42:42happy.
42:43To see that
42:44move people
42:45to tears.
42:50It was a wonderful,
42:52wonderful thing
42:52to do
42:53and Ian's
42:54greatest wish
42:55was for Joy Division
42:56to be big
42:57all over the world
42:58and he used to
42:59say to me,
42:59okay,
43:00we're going to
43:00be big in Brazil,
43:02we're going to
43:02be big in Portugal,
43:04we're going to
43:04be big in Peru.
43:09And he never
43:10made it to any
43:11of them
43:11and that is the
43:13wonderful thing
43:13now for me
43:14to be able
43:15to go to Mexico
43:15and see the way
43:18the music is
43:18appreciated and
43:19goes down
43:20and how much
43:21love there is
43:22for him
43:23and our music.
43:25That is the best
43:26thing in the world
43:27and all I did.
43:28was playing.
43:41He was playing.
43:41Go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go
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