The 'tic tac' sound originated in the old days (the 40s and 50s) as the state of the art in recording studios was at the 'wish and a prayer' stage as far as recording bass. Remeber this predates the introduction of the Precision bass, and an electric bass alone could not reproduce this sound, anyway. This is what Will Lee means when he talks about the old records that the bass is almost 'implied', as it just wasn't recorded very well with the equipment of the day.
The Nashville style operates on the principle that you record fast, and the different instruments draw on a small assortment of sounds and licks, simplified further since all the musicians played with each other all the time as well. The style is virtually as narrow as blues at this stage.
Remember as well that this is the era of the three-minute single and one pass, mono recording. Giants walked the Earth in those days: When you hear Patsy's Sweet Dreams, for instance, that's recorded all in one pass, mono, no dubbing over a clam in this track or another: there ARE no tracks.
Until recently, the Opry staff band STILL played tictac behind the old acts that are still a part of the rotation on Friday and Saturday nights. Billy Linneman (upright) and Leon Rhodes (on an ancient six-xtring Danelectro) would pump that sound out. Strangely enough, it works well with bari over upright, not so well with bari over electric bass. And you use nickel wounds on the
Dano with a pick. And, oh yes, you would NOT want to get in a 'cuttin' contest' with Leon !
A lot of times on new stuff that sound isn't what it seems: That bari sound is not hard to get with a Tele or ASAT and a good pitch transposer. Play the head down in first position on the back pickup, kick an octave-down function in, 86 the original signal and use the effect only, and you're off to the races. You'll see this live fairly often if it's a band where you're not switching axes. A lot of guys also use the Jerry Jones Dano-copies, as they're made here and are built to a lot higher spec than the old or re-issue Danos.
And of course, you can't have real country music without the Ray Price walking lines. This was of course a very simplified version of jazz walking lines built on the triads or pentatonic scales, connected by walk-ups and walk-downs. Intro in front, turn it around at the end, everybody two-step!
People often rag on country music. Like any commercial music, there's a litlle of the sublime and inspired and heartfelt, and a lot of BS. Ray Charles certainly found the magic in it. But, country will teach you to say a lot with less, and that's always the great lesson we all need.
Plus,(Olie, I KNOW you know this), there's certainly worse places to gig on a Friday night than a great dance hall / BBQ joint / beer garden in the Texas Hill Country, full of good-lookin' cowgirls, a plate of brisket and ribs, and a cold Lone Star, watching everybody two-step. Ok, boys, 'The Other Woman' in D . . .
Y'All come back now, here?
J o e y
