Andy Pullin of Voodoo Sheiks supplies bass advice

andy pullin

I’m always striving to be in the pocket, while aiming to be as creative and ‘moving’ as I can be, and avoiding over-indulgence. I’m partial to some thumping and popping. I’m working at the moment on developing the mad Victor Wooten-style ‘hang on to the edge of your seat’ stuff. I enjoy most techniques on the bass, as long as you’re locked in and grooving. From my own perspective, your job as a bass player is to lay down the foundation of a good groove and lock in with the drummer, whatever style it may be. Music’s a listening art form, so you have to listen to your band and react well to what happens. You never know when you might get a curveball. If you can learn to play well in the pocket, but have something that’s a little bit different, whatever it might be, then great.
My bass heroes? Wow, that’s a big list. My first bass hero was Jack Bruce: the first bass riff I ever learned was ‘Sunshine Of Your Love’. I love his ferocious, full-on style. Hats off too because he plays double as well as electric. After Jack, I got into the other British 1960s bass icons, John Entwistle and John Paul Jones. Paul McCartney too, more for the songwriting side of things, but he’s got great melody in his playing. Then I learned they all listened to some dude called James Jamerson, so I got into Motown and that was it. I’m still learning his stuff. Bob Babbitt too! It was a bit later on that I got into jazz and heard about Jaco Pastorius, and there’s not much you can say about him that hasn’t already been said – simply put, he was a genius. I’ve also got to mention Norman Watt-Roy, who is so driving, but really funky and in the pocket, love it.,
Basses ESP 400 Series J-Bass
Effects Ashdown Dual Band Bass Compressor, Electro-Harmonix Enigma Q Balls envelope filter.
Amps Ashdown MAG 300 head, 4×10 cab

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