- Functions
- Bass Player
In-your-face-bass at the top of the charts is uncommon, yet it was a routine incident throughout the late-’70s/ early-’80s prime time of Louis “Thunder Thumbs” Johnson. Best understood to bassists as the steely bridge in between slap leader Larry Graham and modern-day thump kings like Marcus Miller and Victor Wooten, Johnson– as “found” by Quincy Jones– had the musical midas touch.
He topped a powerful session run by using essentially every track of Michael Jackson’s landmark albums Off The Wall and ThrillerConcurrently, with guitarist/brother George, he formed the Brothers Johnson, releasing such hits as Strawberry Letter 23 I’ll Be Good To Youand Stomp! The latter was the duo’s greatest hit, reaching No. 1 on the R&B and dance charts.
Transmittable and multi-sectioned. The dance struck clocked in at 6:20 on the Illuminate The Night LP, with over 2 minutes cut for radio, however both variations had a most happily unexpected centrepiece: a slap bass solo.
“The tune has to do with individuals dancing and having fun partying,” Johnson when informed BP. “We had it in about 2 takes, and I made no punches or repairs; the funk existed as quickly as we struck it.” Johnson utilized a Music Man StingRay (which he assisted style), and strung it with brand-new D’Addario roundwounds. He taped his bass direct and through a mic ‘d and baffled Fender Bassman amp.
Originating from guitar, Johnson entered into slapping naturally, initially by plucking the bass strings with his thumb, and after that “searching for the little clicks and pops I got when I strummed chords on the guitar.”
When Johnson got his very first huge break, signing up with Billy Preston’s band in 1972, he was informed he seemed like Larry Graham. “I had not even heard of Larry. My impacts were Ray Brown and James Jamerson.” Quincy Jones encountered a Johnson Brothers demo a couple of years later on, leading the way for their 1976 album launching, Keep an eye out For # 1
The late-1979 session for Stomp!from the 4th and best-charting Brothers Johnson album, occurred at A&M Studios in Los Angeles. “I began composing the tune on bass initially, and after that guitar at my home studio. Next, Quincy had Rod Temperton, George and my other half Valerie assisted with some tunes and lyrics; Jerry Hey did the horn and string plans.”
Anchored by four-on-the-floor kick drum, the track releases with a prolonged introduction based upon the chorus modifications. Johnson offers roots for the chord strikes in the very first 8 steps, and includes some balanced movement to the next 8. With the complete drum package getting in, Johnson lets loose with a cool, octave-switching two-bar expression that establishes– and continues as– the very first verse.
