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Larry Mullen, Jr.
Lawrence Joseph "Larry" Mullen, Jr. (born 31 October 1961) is the drummer for the Irish rock band U2.He is the founder of U2, which he later described as "'The Larry Mullen Band' for about ten minutes, then Bono walked in and blew any chance I had of being in charge." He has worked on numerous side projects during his career, including a collaboration with Michael Stipe and Mike Mills of R.E.M. to form Automatic Baby in 1993 and working with bandmate Adam Clayton on the re-recording of the theme to Mission: Impossible, in 1996.He and U2 have won many awards, including 22 Grammy awards.
Lawrence Joseph "Larry" Mullen, Jr. (born 31 October 1961) is the drummer for the Irish rock band U2.He is the founder of U2, which he later described as "'The Larry Mullen Band' for about ten minutes, then Bono walked in and blew any chance I had of being in charge." He has worked on numerous side projects during his career, including a collaboration with Michael Stipe and Mike Mills of R.E.M. to form Automatic Baby in 1993 and working with bandmate Adam Clayton on the re-recording of the theme to Mission: Impossible, in 1996.He and U2 have won many awards, including 22 Grammy awards.
访问续:
LEARNING TO PLAY THE BASS
'Hanging Around', the Stranglers (1977)
The comprehensive I went to in Dublin was where I met Edge, Bono and Larry. I much preferred it. It came with the freedom that I'd been deprived of, including the length of my hair and the clothes I wore. Punk was beginning and I connected with it immediately. Suddenly there was a line between people who listened to Led Zeppelin and people who listened to punk and I knew which side I was on. And to put it in context, our generation was facing an uncertain future. We were down to petrol rationing and a three-day week. Punk seemed like a movement that could question authority, although it doesn't seem quite so radical now. I remember hearing the bass on "Hanging Around" and immediately knowing it was going to be the instrument for me. Punk meant you didn't necessarily have to know how to play that well – you could do what you want. And in the hands of the Stranglers' Jean-Jacques Burnel, the bass was a weapon of mass destruction. It was the aggressiveness of the way he played that I picked up on.
Not too long after this, Larry [Mullen Jr, U2 drummer] put a notice on the school notice board, looking for anyone interested in forming a band. It took a few months to find our voice and in the beginning it wasn't happening fast enough. Paul Weller was making records at 18 and we wanted that as well.
DISCOVERING AMERICA
'What's Going On', Marvin Gaye (1971)
By 1984 we were making Unforgettable Fire with Brian Eno and Daniel Lanois, and moving away from a punk-based sound. Danny introduced me to a lot of rhythmic American music that I'd missed, soul and dance music that we had not been exposed to in Ireland. He made me listen to a lot of Motown, particularly tracks that featured the bass player James Jamerson, who was in the label's house band the Funk Brothers, and who plays on this track. I learned that the bass could be seductive and subtle, and James Jamerson has been with me ever since. And it started a romance with certain aspects of American culture – this was music that had a connection with civil rights – although for me the relationship was always more instinctive than intellectual, and came through these kind of musicians.
THE RECORD THAT HELPED ME LOOSEN UP
'Back to Life (However Do You Want Me)', Soul II Soul (1989)
By the end of 80s we were coming off the Joshua Tree and Rattle and Hum albums, which were enormous for us – we were on the cover of Time magazine. When you become that popular in such a short period, it can be hard to know where the ground is. You can get pretty out of touch. So as a band we slipped and slid all over the place. And we loosened up. We wanted to, because we were fed up with being the stoic men in the desert of those albums.
We'd lived in LA while were making Rattle and Hum, and had begun to hear a lot of rap, especially NWA, who were on the same label as us. And what was happening in the UK was Stone Roses, Happy Mondays and a lot of clubby stuff like Soul II Soul. We were aware the 90s were starting to happen, and we knew that these were the directions we wanted to go. There were a couple of nights I went to Ministry of Sound in London, and a few places in Paris, I can't remember exactly where. I wasn't going out nightly, because I was always travelling with the band, but I was hanging out with people who were, and would end up back at their houses until the early hours, discovering artists like Leftfield. And, of course, in the end the 90s proved to be a fantastic time for U2.
LEARNING TO PLAY THE BASS
'Hanging Around', the Stranglers (1977)
The comprehensive I went to in Dublin was where I met Edge, Bono and Larry. I much preferred it. It came with the freedom that I'd been deprived of, including the length of my hair and the clothes I wore. Punk was beginning and I connected with it immediately. Suddenly there was a line between people who listened to Led Zeppelin and people who listened to punk and I knew which side I was on. And to put it in context, our generation was facing an uncertain future. We were down to petrol rationing and a three-day week. Punk seemed like a movement that could question authority, although it doesn't seem quite so radical now. I remember hearing the bass on "Hanging Around" and immediately knowing it was going to be the instrument for me. Punk meant you didn't necessarily have to know how to play that well – you could do what you want. And in the hands of the Stranglers' Jean-Jacques Burnel, the bass was a weapon of mass destruction. It was the aggressiveness of the way he played that I picked up on.
Not too long after this, Larry [Mullen Jr, U2 drummer] put a notice on the school notice board, looking for anyone interested in forming a band. It took a few months to find our voice and in the beginning it wasn't happening fast enough. Paul Weller was making records at 18 and we wanted that as well.
DISCOVERING AMERICA
'What's Going On', Marvin Gaye (1971)
By 1984 we were making Unforgettable Fire with Brian Eno and Daniel Lanois, and moving away from a punk-based sound. Danny introduced me to a lot of rhythmic American music that I'd missed, soul and dance music that we had not been exposed to in Ireland. He made me listen to a lot of Motown, particularly tracks that featured the bass player James Jamerson, who was in the label's house band the Funk Brothers, and who plays on this track. I learned that the bass could be seductive and subtle, and James Jamerson has been with me ever since. And it started a romance with certain aspects of American culture – this was music that had a connection with civil rights – although for me the relationship was always more instinctive than intellectual, and came through these kind of musicians.
THE RECORD THAT HELPED ME LOOSEN UP
'Back to Life (However Do You Want Me)', Soul II Soul (1989)
By the end of 80s we were coming off the Joshua Tree and Rattle and Hum albums, which were enormous for us – we were on the cover of Time magazine. When you become that popular in such a short period, it can be hard to know where the ground is. You can get pretty out of touch. So as a band we slipped and slid all over the place. And we loosened up. We wanted to, because we were fed up with being the stoic men in the desert of those albums.
We'd lived in LA while were making Rattle and Hum, and had begun to hear a lot of rap, especially NWA, who were on the same label as us. And what was happening in the UK was Stone Roses, Happy Mondays and a lot of clubby stuff like Soul II Soul. We were aware the 90s were starting to happen, and we knew that these were the directions we wanted to go. There were a couple of nights I went to Ministry of Sound in London, and a few places in Paris, I can't remember exactly where. I wasn't going out nightly, because I was always travelling with the band, but I was hanging out with people who were, and would end up back at their houses until the early hours, discovering artists like Leftfield. And, of course, in the end the 90s proved to be a fantastic time for U2.
