Andy Irvine

"At first touch I was fully intrigued by the Pick Boy felt pick. I adore old school flavored blues, soul, funk and rock music and often require warm round bass tones when performing or recording. When I played the Pickboy for the first time I was instantly enchanted. Due to it's solid yet flexible inner core and felt exterior it is the single most useful pick for my personal style. The front side note attack is present for delivery and punch yet it is presented with warm round pleasing edges. A delightful tool and fun creative vehicle in all I do."

In Andy's new edition of Bass Mechanics, Andy Irvine shows you how to construct and play 12 of what he considers to be the most versatile and crucial grooves that you must have full command of to succeed on stage or in the studio. We’re very proud to welcome Andy to the family with his first TrueFire course, Bass Mechanics: Crucial Groove.

Welcome aboard, Andy!

Learn more about Andy and his on his site www.AndyIrvineBass.com

Exclusive Interview

1) What are you working on now?

Hello and thanks for asking me to take part. I'm always busy playing gigs all over Colorado with various bands, doing recording sessions, and operating Andy's World Of Bass where I publish daily gear/instrument demos and lesson videos. The most new and exciting thing I have going on is a band I've just recently formed called "Funky Stuff" which is trio, playing a 50/50 mix of originals and very hip covers that come from the 60's soul jazz era primarily re-worked and arranged our own way. It's the most work I've put into a band in a long time in terms of writing, arranging and rehearsing, as you would expect the results are rewarding. The older you get the harder it is to find people willing to put in that kind of time and effort, I feel grateful and lucky I found the right cats to do this with. Our first gig is this Friday.

2) What is your musical background and influences?

I started playing in 1982, was into hard rock and metal first, Pete Way was my favorite, Steve Harris, Gezer, and JPJ, then I started getting into Stanley, Jaco, Percy Jones, Larry G, and Boosty, at the same time I fell in love with soul music - Motown, Muscle Shoals and Stax records - David Hood, Chuck Rainey, James Jamerson, Bob Babbit. In the early 90's I began to really dig smart pop song craft like Elvis Costello, Bruce Thomas became a huge influence and study, among others. I've always been into and open to playing anything, especially if there is a gig involved. That attitude and versatility has served me well, I've done everything from real book jazz standards gigs and musical theater pit gigs to rock, blues, and bluegrass festivals - and a zillion bar gigs playing just about everything. I even love playing 50's doo wop and the corny oldies pop hits. I'm not too picky about music, so long as the people are cool, play their bag well, and are not nuts I'll take any gig - usually.

3) What is the role of education in music?

The craft needs to be passed on and also allowed to evolve - anyone can be a teacher and everyone can be a student regardless of where they are at with time served on on any instrument. Learning is not limited to traditional academic methods anymore, and traditionally academic institutions are not teaching like they used to. They have expanded to offering courses in a variety of truly and genuinely useful real world areas. As a teacher I always try to be useful, I teach only what I know and only from personal experience. I teach real world stuff, how to gig, how to put priority on individual style development and how to learn to be creative by practicing creativity every day. I also teach how to earn with the craft and how to utilize modern communication mediums to get out there and get involved. Most of all I teach how to remain joyful in the craft in the long run.

4) How do you feel about the current ‘state of the music industry’?

Ummmm - Well, I'm a what you might call a working stiff, I'm doing just fine. I never made it to the big time so I have no experience with all that. I have made a decent living for more than 35 years with my bass, I've toured extensively through 27 countries with my bass as my vehicle, put out 4 albums of original music, 3 educational bass courses, and wrote a book. All of my releases have been independently produced and financed by me. I sell very little if you compare to others. I make the art for the sake of the art itself first, then just try my best to get it out there. If it's liked great, if it's not that's great too. The merit or worthiness of my art only needs to be validated by me it's creator, nobody else matters. There is only one personal criteria which must be met, that is to be a little better than before in every way, to always improve the over all quality. All I really care about is looking in the mirror and not seeing lazy sack of shit who regrets not trying harder. The more you hustle the more you work, the more you work the better you'll play, the better you play the more opportunity will come your way. I made lots of mistakes early in life and still do, from them I'm a better man, a better collaborator, better band member and a better musician.

5) Why do you play Pickboy picks?

I use the felt covered PickBoy picks and have many years now, I really love them! In fact I need some more thanks for reminding me!