I’m really so just all into my craft.”, Kim Deal was working as a receptionist at a doctor’s office in 1986 when she read a Boston Phoenix newspaper ad saying a band was looking for a “bassist into Hüsker Dü and Peter, Paul, and Mary.” She may have been the only one to show up, but her sugary singing voice and punk-rock bass chops made her the perfect fit for the Pixies. Also it galvanized this idea in my head that any time you get more than one guy playing together in an ensemble, you try to make a conversation, an interesting one.” Taking that democratic maxim to heart, Watt helped rethink punk music from the ground up, creating short, sharp songs that incorporated funk, jazz, folk, blues, and even rap into their sound. “He wanted the bass way up front and the drums, too,” Watt said of Boon. Once the Band got underway, Danko established himself as the group’s trusty secret weapon, a position he’d hold during both their initial run and their prolific reunion era. He also fit in seamlessly working alongside Ringo Starr, K.D. My favorite thing about Geezer (and the Geezer/Bill Ward combo in particular) was the heavy jazz influence in the rhythm section, especially on the early records. I never rated myself as a bass player; I just played what I thought was necessary for each song.”, The legend of the Band centers on their down-home appeal, but revisit their classic records and it’s impossible to miss just how funky they were. But the influence of the self-proclaimed “Architect of Reggae” extended far beyond that genre into pop, R&B, and funk: His strutting bass line on the 1969 instrumental track “The Liquidator,” by the Harry J. “The Africans had as much influence as the conquistadors on what is Cuban. “But I was learning how to play bass lines and chords at the same time. Hood remains modest about his accomplishments. “He has played in literally thousands of unique settings and is always able to find something that brings out the best in his associates, while always remaining true to his own very strong sense of identity.”. “You see, because I had studied classical guitar I knew the bass formula, although the songs I was playing in lessons were country & western songs,” he said recently. “We understood that we were supporting them and accompanying them,” Sklar says of L.A. studio players of the era. “I’m still trying to do that.”, “There must be hundreds of better bass players than me,” Bill Wyman told Rolling Stone in 1974. (“It’s like waking up one day and realizing you’re in love with a co-worker,” she, of picking up the instrument.) Walking bass lines weren't uncommon in heavy music from that time. Throughout his tenure, he complemented his signature warbling vocals with crafty four-string lines that always fit hand-in-glove with Helm’s swampy grooves. Lost in the magic of the wilderness. I felt my job was not to become a good bass player.” Gordon’s signature sound — a guttural groove that sounds like an oncoming subway train — is heard throughout the band’s discography, from early, dark rumbles like “Brave Men Run (In My Family)” to tracks from their Nineties commercial highlight Dirty (“Youth Against Fascism,” “Sugar Kane”) and later, to more languid statements like “Jams Run Free.”, When John Entwistle died suddenly in 2002, the Who could have called up just about any bassist on Earth to replace him. EMG along with legendary artist Geezer Butler have collaborated to develop the GZR-P and GZR-PJ signature bass pickup sets. Electric, acoustic, upright, and otherwise. Moore’s approach would help forever transform the role of the instrument in country session work. On “War Pigs,” Butler played a bluesy lead underneath Iommi’s drawn-out riffs, and by the middle of the song when Iommi solos, Butler plays his own jazzy, Jack Bruce–inspired fingerpicked solo whenever the guitarist holds a note. He was the heartbeat of the Makgona Tshole Band, who were Johannesburg’s version of Motown’s Funk Brothers or L.A.’s Wrecking Crew — the house band who played on countless hits in the Sixties and Seventies, creating the sound of mbaqanga. It was only afterwards that I thought about the consequences. To get you in the mood, we put together a list of some of our favorite riffs to play when the kids come by to trick or treat. Alongside fellow session legends like Charlie McCoy, Buddy Harman, Ray Edenton, and Hargus “Pig” Robbins, Moore’s sophisticated stylings helped transform Nashville into one of the nation’s musical power centers when artists like Patsy Cline, Chet Atkins, and Brenda Lee began to infuse country with piano-driven pop and jazz in the Fifties and Sixties. “We weren’t pushing ourselves behind them, but we still crafted an identity.” Sklar’s understated, nonflashy but melodic bass can be heard on many Taylor classics (“You’ve Got a Friend,” “Handy Man,” “Your Smiling Face”) as well as on Browne’s “Doctor My Eyes” and all of Running on Empty, and Gene Clark’s cult classic No Other. Survey the sounds that have defined the vanguard of hip-hop, jazz, R&B, electronica, and beyond during the past decade-plus — including records made by Kendrick Lamar, Janelle Monáe, Flying Lotus, Kamasi Washington, Erykah Badu, Childish Gambino, and more — and you’ll land on one name again and again: Thundercat. Jamerson helped revolutionize the field, jolting his parts with extra syncopation, additional chords that added melodic depth and complexity, and tonal choices that evoked gospel harmony. “I always try to get in with the kick drum,” McVie once said. “I think Mr. Carter is one of the consummate listening musicians ever,” said collaborator and lifelong fan Pat Metheny in 2016. “I’m still always amazed by Bill’s tastefulness in his bass playing.… He’s a very sensitive musician.” Wyman earned Richards’ praise by playing smart harmonies under the guitarist’s iconic “Satisfaction” riff (playing a melody that goes down while the guitar goes up), a gentle rumble underneath “Jumpin’ Jack Flash,” and rhythms that wiggle underneath the boogie-woogie of “Rocks Off.” “I’m not a busy bass player,” Wyman once said. In Joy Division and New Order, he redefined the instrument for the postpunk Seventies and Eighties, and generations of arty kids have tried to copy his melodic pulse in “She’s Lost Control,” not to mention his badass slouch. Because [Fifties and Sixties jazz legend] Paul Chambers didn’t get around the instrument the way she does,” Carrington, . Mingus’ career spanned multiple eras of jazz, and his command on the instrument made stylistic divisions seem irrelevant: That’s why he sounds equally at home swinging with Lionel Hampton’s big band in the late Forties (on his own “Mingus Fingers”), jamming with fellow bebop royalty in the Fifties (on the famed Jazz at Massey Hall album, which featured bass parts overdubbed in the studio by the famously exacting Mingus), and carrying on a lively, percussive conversation with his musical idol Duke Ellington in the Sixties (on the immortal Money Jungle). “Some people cannot do that and will not do that, especially ‘real’ bass players,” she once said, reflecting on the simplicity of her part in “Where Is My Mind?” “They want to help push every little moment; they want to be involved. Porter credited his unique style to a diverse musical background. Butler is best known as the bassist and primary lyricist of the heavy metal band Black Sabbath. Jan 4, 2019 - Explore LESLIE ;)'s board "GEEZER BUTLER" on Pinterest. Jimi Bell is a master musician. (He holds the record as Crimson’s longest-serving bassist.) He brought it all to Earth, Wind, and Fire’s elegant, breathtakingly complex, million-selling albums. Though they come from different scenes and generations, Peter Hook has always been the Keith Richards of the bass — a groove master cranking out the definitive riffs of his era, with plenty of outlaw mystique. His list of contributions to iconic records is impossible to sum up quickly, but his key Motown recordings include the Temptations’ “My Girl,” which surely has one of the most recognizable, instantly gratifying bass parts in all of pop; Gladys Knight’s “I Heard It Through the Grapevine,” where he plays a suave, bubbly counter to the jittery piano; and Marvin Gaye’s “What’s Going On,” which finds Jamerson at his hyper-melodic best. His idea — “play bass and lead at the same time,” his notes darting in and around the melody — became as recognizable a part of the Dead’s sound as Garcia’s guitar. “I went to see Cream mainly because of Clapton … and I was mesmerized at Jack Bruce’s playing. Had he recorded “Good Times” alone — one of the most sampled bass lines in history and the inspiration for hip-hop’s first mainstream hit “Rapper’s Delight” — he would’ve made this list. “I could just kind of cut him loose and stand back and celebrate his choices.”, Don Paulsen/Michael Ochs Archives/Getty Images, As a member of Sly and the Family Stone, Larry Graham helped popularize the slap-bass technique with hits like “Thank You (Falettinme Be Mice Elf Agin)” and “Dance to the Music.” He developed the unmissable, percussive approach — Graham calls it “thumpin’ and pluckin’” — while playing in a trio with his mother in San Francisco. Play hard over the end of the neck, very far away from the bridge, and lots of pentatonic runs, and a lot of bluesy bends. “Charlie Haden plays for the existence of the listener,” Coleman once wrote. Moore recalled Black’s role in Presley recording the country favorite “Blue Moon of Kentucky,” which became Presley’s first B side. From there he’s evolved into a larger-than-life musical superhero: a staggeringly proficient player who combines a deep love of classic funk and fusion with influences ranging from yacht rock to nu-metal and neosoul. Use lots of minor pentatonic and a wah pedal too for taste. Because [Fifties and Sixties jazz legend] Paul Chambers didn’t get around the instrument the way she does,” Carrington said of Spalding. “I was something new; I was a player.”, The Talking Heads’ 1977 breakthrough single “Psycho Killer” sets an ominous mood before frontman David Byrne even sings a word. But for all the praise he’s earned as a singer, songwriter, and live performer, it’s quite possible he hasn’t gotten enough for his low-key low-end verve. “Richard was the soul of the album.”, Onstage with Rush, Geddy Lee was always a master multitasker, playing keyboards and foot-controlled synths while nailing daredevil vocal parts. Geezer Butler wrote Sabbra Cadabra, War Pigs and Into the Void. Does anyone here know of some techniques Geezer known for? It’s nice to leave the top of the beat for the vocal and spread the other parts around the beat. Early solo LPs — and future bass-repertoire staples — like School Days found him moving further into funk, and showcasing his astonishing technique while always minding the groove. Terence Michael Joseph Butler is part of the Baby boomers gener… “Willie Dixon is the principal [influence on me]” the Rolling Stones’ Bill Wyman once said. “What’s Cuban in origin is also African,” he said years later. It’s hard to think of Paul McCartney as being underrated in any category. It adds some different dynamics to it, almost like different acts — like, Act One, Act Two and Act Three.” That sensibility was so spot on that when Metallica collaborated with the San Francisco Symphony in 2019, the orchestra’s principal bass player wanted to perform “Anesthesia” in tribute to Burton. He’s continued to expand his creative horizons, as on 44/876, his 2018 album with Shaggy, where his tasteful, dubby performances anchor the songs’ relaxed grooves. “I could just kind of cut him loose and stand back and celebrate his choices.”, Charles Mingus was so much more than a bass player — composer, conceptualist, classically trained cellist, social critic — that it’s sometimes easy to forget how much of a force he was on his instrument. Guitarists, singers, and horn players tend to claim the flashiest moments in any given song, while drummers channel most of the kinetic energy, but what the bassist brings is something elemental — the part that loops endlessly in your head long after the music ends. “Bill was one of the worst bass players in the world,” Sun Records owner Sam Phillips once said, “but, man, could he slap that thing!” Black’s propulsive sound on the upright gave Presley’s earliest sides like “Heartbreak Hotel” and “That’s All Right” the thrilling drive of a full rhythm section despite the complete absence of drums. “James Jamerson became my hero,” Paul McCartney once said, “although I didn’t actually know his name until quite recently.” When Jamerson started his career, the bass was largely seen as a utilitarian support instrument; most players stuck to “stagnant two beat, root-fifth patterns and post–’Under the Boardwalk’ clichéd bass lines,” according to Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson. 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