Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
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As quoted in "Paul Simon's Workshop at the Guitar Study Center" by Richard Albero and Fred Styles in Guitar Player (April 1975), p. 20Paul Simon
"Producers like Organized Noize mix samples and live instruments really well, but for me, it almost feels like a cop-out, because I'm a collage artist. It's like, 'Damn, if only I could find this one part. Well, maybe if I just had somebody paint it, and then I'll put it out.' That almost feels like cheating. Lots of times, I have trouble finding bass lines, because it's not very often on a record that there are good open bass lines. Sometimes I wish I could just have somebody come in and do what I want him to do on a bass line. It would be so easy. But what I do just keeps things much more challenging, I guess."
DJ Shadow
He had developed his own limited, or very simple style. He was never very keen on improving himself as a bass player and half the time I would play bass on the records because I would tend to do it quicker. Right back to those early records; I mean, at least half the bass on all recorded output is me anyway. … Rog used to come in and say, 'Thank you very much' to me once in a while for winning him bass-playing polls.
David Gilmour
I was playing drums, and I had broken my wrist very bad playing football, and the bass player in the band... he wanted to split. So I just went to the bass; I went from Drums over to Bass. That was it. I was playing the bass within a week.
Jaco Pastorius
It's just rock and roll. A lot of times we get criticized for it. A lot of music papers come out with: 'When are they going to stop playing these three chords?' If you believe you shouldn't play just three chords it's pretty silly on their part. To us, the simpler a song is, the better, 'cause it's more in line with what the person on the street is.
Angus Young
What I do when I write is that I'll do a raggedy, rough version just to hear the chorus, just to see how much I like the chorus. If it works for me that way when it's raggedy, then I'll know it will just work... Listen to that, that's at home. Janet, Randy, Me... Janet and I are going "Whoo, Whoo... Whoo, Whoo..." I do that same process with every song. It's the melody, it's the melody that's most important, If the melody can sell me, then I'll go to the next step. The idea is to transcribe from what's in your mentality onto tape. If you take a song like "Billie Jean," Where the bass line is the prominent, dominant piece, the protagonist of the song, the main driving riff that you hear, getting the character of the riff to be just the way you want it to be, that takes a lot of time. Listen, you're hearing four basses on there, doing four different personalities, and that's what gives it character, but it takes a lot of work.
Michael Jackson
Simon, Paul
Simon, S. J.
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