jick
Refugee
POP had it's shining bass moments according to a noisy minority in this forum. You get the allegedly groovy groove of Do You Feel Loved, or the intricate arrangement of Please. Some U2 fans felt that POP was one of Clayton's carrer highlight, especially since he was coming off bass guitar lessons in New York before the POP project started.
But it seems Clayton is his own worst critic. After reading once again his November 2004 interview in Q Magazine, Clayton says: "Playing bass has become much simpler the last two records (logically HTDAAB & ATYCLB). Before it used to be so complicated. I was always trying to come up with the best possible, ever. When you put yourself under that much pressure you don't necessarily get anywhere The wheels just spin a lot."
So my interpretation of Clayton's analogy would be similar to that of an F1 or Indy Car race. One car can have so much wheelspin and brake lock and skidding, and they look so fancy all around the track but in the end, the car that is running simpler with less fanfare ends up with a much better laptime.
I those who look with awe to Clayton's bass playing in POP are impressed because it sounds spectacular and many notes are hit. But is the bass really communicating? Is it really "getting anywhere" to quote Clayton?
Clayton says no, and I agree with him. What do you guys think?
Cheers,
J
But it seems Clayton is his own worst critic. After reading once again his November 2004 interview in Q Magazine, Clayton says: "Playing bass has become much simpler the last two records (logically HTDAAB & ATYCLB). Before it used to be so complicated. I was always trying to come up with the best possible, ever. When you put yourself under that much pressure you don't necessarily get anywhere The wheels just spin a lot."
So my interpretation of Clayton's analogy would be similar to that of an F1 or Indy Car race. One car can have so much wheelspin and brake lock and skidding, and they look so fancy all around the track but in the end, the car that is running simpler with less fanfare ends up with a much better laptime.
I those who look with awe to Clayton's bass playing in POP are impressed because it sounds spectacular and many notes are hit. But is the bass really communicating? Is it really "getting anywhere" to quote Clayton?
Clayton says no, and I agree with him. What do you guys think?
Cheers,
J