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In something of a departure from the usual, SATB presents a conversation with Arion Salazar, original bass player with Third Eye Blind (“Semi-Charmed Life” – “Losing A Whole Year” – “How’s It Going To Be” – “Never Let You Go”) and this year on tour with XEB. As you will hear, he is an accomplished recording artist whose life path was impacted virtually from birth by The Beatles (who, as it happened, had just split up while he was in utero). Arion offers up his insights as a fan and as a student of the Beatles on the group, on Paul (certainly as a bassist) as well as on Klaus Voormann.
Great show . . . so when do all the visuals here change to reflect the present state of the show?
Soon enough. My bigger priority has been to deliver worthwhile shows.
I was delighted to discover this podcast a couple months ago. For my money, this is the only Beatles podcast you need. Best part of it, besides the depth of Beatle-geekery and knowledge on display, was the interplay between Robert and Richard. I wish he weren’t leaving.
And I think it would be classy to have a little more information about his departure –other than being referred to as “the original co-host” — and what he’s going to do now. Yeah, I know, write more books (ding!)
I too would have liked to have made his departure classy – but he chose not to make it so.
If you want the gory details, personal message me through the site, but I will not litigate this publicly anymore.
RR
holy crap, this was off-the-charts fantastic. SO good. 🙂
I miss Buskin.
You don’t have to. He apparently has a gig in the works that he doesn’t find to be a “chore” like this one. Go find it.
Great show. I love when certain instruments are highlighted/isolated on songs. Gives us great insight to what was going on. And, I thought Arion came across as a genuine and knowledgeable contributor.
A great guy and a passionate fan. I think he felt a little bit nervous about being on the show, as he is a SATB fan. But he did just fine and I feel lucky to count him as a good friend.
Was really nice episode, though I hoped it would be more about ‘musical’ side of Paul’s bass, like about it’s interplay with drums or guitars, that kind of stuff.
But I just read on Facebook that similar themed episode is coming apparently.
I have to say though that “My Monkey” has one bass track.
PS Arion, please release ALL the recorded funky stuff for Interstate’76 somehow! 😀
Superb show.
What a fabulous show. Arion said something I say a lot which is that with the Beatles you have four guys bringing their A-game all the time. When you listen to a song you have to pay attention to everything that is going on which is why I love them more now than before. I wanna hear more shows with fans talking Beatles. There is always more to learn.
Thanks Tony – you are affirming my belief in what is of value on the show – not just famous people, but also insights from folks who have listened closely and formed observations about what they’re hearing. Arion offered up some real astute observations here.
His bass playing on “Nowhere Man” and “The Word” on Rubber Soul are trend setting, to my way of thinking. I really sat up and took notice of the bass on Beatles records from that point on. Lots of great stuff before that, of course. But, that was the awakening for me.
And in fact, that’s the point where Paul began using his Rickenbacker 4001S bass full time. You really can tell!
BTW, wonderful show, Robert!
Terrific show. I had never taken great notice of the bassline in “And Your Bird Can Sing” until today, and it is just spectacular.
As for the change in the show’s personnel, well, sorry it didn’t end in a clean and friendly way, but the show is already moving onward and upward.
Great show with an interesting guest.
The only thing I can’t agree with is ‘Your mother should know’ as fine as the performances are, that track rocks about as much as a wet lettuce.
By the way; if we look back at previous episodes illustrations and play some of those codas backwards will we find clues as to what’s really happened…?
Arion mentioned Your Mother Should Know as an example of weird bass sounds in the very beginning of the song. Where Paul does a quick high A grace notes (14th fret of a G string) that sound like a slide, and he also jumps over a string to a chord root/tonic as well which IS pretty neat and weird (it’s difficult to explain in words) and he never ever uses this gimmick again.
Everything else in Your Mother Should Know bass-wise is nothing too special, you can say it’s typical 1967 McCartney bass line, there are however few ‘jumpy’ bits where he uses triplets, and though he uses pretty standard quarter note feel, he mixes it up with a slow shuffle as well (Mr. Kite has it very prominent).
Robert your Fest chats are always top notch, even when I disagree with you. Farewell Buskin, but as a die hard Paul Fan (but I do question him when needed)he was hard to listen to at times. All the best with the “new phase” of the show!
Hi! Great show. One question, was that bit from the Who coming from Woodstock? It improves the sound of the usual bootleg. Un abrazo!
Great show!
I had to check the dates.
Wings released “Goodnight Tonight” in March 1979. Recorded sometime earlier. Wiki says October of 1978.
Chic released “Good Times” in July 1979. Recorded sometime earlier.
“Rapper’s Delight” was released in September of 1979.
McCartney could have been influenced by an earlier Chic track, but 100% definitely not “Good Times”…sorry.
Thanks for the effort, Steve. I think Arion’s greater point, as he continued the thought with the citing of “Another One Bites The Dust,” is that a lot of what was going on in bass world was influenced, ultimately, by Bernard Edwards’ work.
So the kurmudgeon is leaving, huh! This show might just get better from here. That guy was a bit too biting and sanctimonious for my taste. Definitely didn’t seem to be having as much fun as talking about the Beatles warrants.
Hey Robert, enjoyed the show, but it’d be nice to do another episode about the bass and McCartney that tracks his evolution with his playing, highlights in his changes in gear, Macca’s influences, more isolated tracks, etc. I’d have liked to hear more about his techniques, bass line writing process, studio innovations, etc that really make him the excellent bass play we know and love. You gave Ringo a truly excellent treatment with that kind of backstory and dissection and Macca deserves the same for his often underrated playing.I thought the episode was a little rambling and didn’t focus enough on McCartney the bass player.
That said, still an excellent show and Arion was a great co-host since he really knew his stuff and his enthusiasm was infectious. Thanks!
Agreed, Luke – totally! As soon as the perfect guest suggests himself, I’ll have them on. A book detailing Paul’s influences and techniques as you describe would be a great addition to the canon.
I must say that SATB is better without Richard Buskin – his continual sneering about Paul McCartney was tiresome, especially from someone who has devoted so much of his time to the Beatles. There also now seems to be no more juvenile giggling about anything vaguely sexual or any possible double entendre. It is a better show now and is indispensable listening