Canadian Musician - January/February 2018 | Page 27
BASS
Tim White’s Twitter bio simply says: “Musician Of Ill Repute.” This is not only accurate, but also impossible to prove (or disprove).
He is also the best bassist in iconic Canadian rock outfit Headstones.
By Tim White
What’s Your “Thing?”
Like, with Entwistle, he stood very still, with
his bass up high, and played with little or no
expression. That was his thing.
S
o when Canadian Musician asked
me to write an article for their bass
column, I thought, “Yeah! I’ll do that!”
Then I immediately thought, “Agh! I
don't want to do that!”
Because what am I gonna write about?
I’m not super interested in talking about gear,
or scales or pedals or strings or whatever. But
then Trent Carr gave me an idea. He suggested
not writing about bass at all, but writing about
what it’s like to be a bass player in a band, spe-
cifically Headstones. This led me to thinking
about what I do on stage and if any of it applies
to you. Here’s what I came up with…
FLEA
Flea of course, has a lot of different moves, but
they’re all iconic.
Other People’s “Things”
I want to talk about performance. I’m not
talking about doing a thousand windmills or
scissor jumping off of the drum riser neces-
sarily, but performance as in making yourself
memorable by creating an iconic presence for
yourself onstage. This is the thing that not only
fans, but also agents, media, and labels all want
to see in a show. I do too. Don't you?
When you think of great rock bass players,
there’s usually a visual image that comes with
that. Whether it’s Flea or Entwistle or Lemmy, or
(insert name here), if you watch their concert
footage, they’re all doing some very specific
things that are unique to them.
LEMMY
Lemmy, it was the Rickenbacker and that great
stance, singing upward towards the mic.
Doing Your “Thing”
JOHN ENTWISTLE
W W W. C A N A D I A N M U S I C I A N . CO M
The thing about their “thing” is that it’s consis-
tent. We can rely on it, and really, we come to
expect it from them.
You want people to remember you, and
more importantly, you want to energize the
audience with your performance. I feel that
this is my job.
1. Try not to mess up (rehearse)
2. Be present (listen)
3. Be watchable
Make no mistake; they are watching you (un-
less you happen to play in a band with a par-
ticularly great frontman, in which case they’re
watching you only some of the time).
One of my things I used to do was take
my shirt off at some point during the show. I
started doing this because I sweat so much,
but then it became a thing. I’ve asked fans what
they thought of a particular show and they’ve
responded with, “It was great, but you didn’t
take your shirt off!” So it’s a double-edged
sword, and I stopped doing it.
Now my attitude is to get comfortable
and just really listen and get into the music. A
Headstones show is such a high-energy sonic
assault anyway, so getting amped up onstage
is easy to do.
Also, I do some sensible stuff like stretch a
little beforehand and stay hydrated.
By the way, if you’re uncomfortable having
people stare at you, just stare back at them.
You do have the upper hand, literally and figu-
ratively speaking. Try and remember they’re
only staring at you because you’re up on stage
being a total rock star.
So you know, whether your thing is stum-
bling around, or staring at your shoes, or gaz-
ing up at the lights, make it your thing. You’re
unique. Don’t be afraid to try stuff and stretch
out a bit, performance-wise. It’s easier than you
think and the only way to get there is by experi-
mentation. Every gig, you can make some deci-
sions about how you’re gonna try this tonight,
or how that worked last night, so I’ll keep that
again tonight, etc., and eventually, you’ll find
what works for you.
Before ya know it, people are saying, “Oh
yeah, you know that bass player? He kind of
leans up against his amp all the time?” Now
that’s not my thing, but if it’s yours, own it!
C A N A D I A N M U S I C I A N • 27