He is known among friends and hard rockers worldwide as “Electric Church!”

A consummate pocket and song player who plies nifty unison lines and melodic extensions aplenty – Bill Church set the foundation for one of the most influential hard rock collections ever committed to vinyl: Montrose (1973).

Primarily a Fender Precision devotee, Bill’s career commenced in the late 60s with the band Sawbuck. Church moved on to Van Morrison’s band to anchor such classic platters as Tupelo Honey (1971) and St. Dominic’s Preview (1972). When Sammy split from Montrose (or was fired) Bill was a mainstay in Hagar’s ensembles for several seminal sides and tours – and on occasion Church will guest at a Sammy show for a few tunes.

Van Morrison “Wild Night” https://youtu.be/bXoBnmJtqhY

Montrose “Rock Candy” https://youtu.be/z25xrCoTdZI

Montrose “Bad Motor Scooter” https://youtu.be/tk52nGxF-jc

Dig Bill and Sammy on “Leaving the Warmth of the Womb” which reunited the classic Montrose line-up in 1997. https://youtu.be/kYzfc6gkMt4

By Tom Semioli

Renowned for her exemplary work as a composer, singer, and recording artist – most folks don’t realize that Aimee Mann is also an accomplished bassist! A song / pocket player, Ms. Mann helmed the instrument full-time with her band ‘Til Tuesday for three terrific slabs and their classic hit “Voices Carry.”

A Berklee School of Music alum – Aimee has garnered two Grammys to date (2020) and is among the most respected and influential songwriters of her generation. For most of her solo career Mann has used studio players however she occasionally works the four string on stage and in the studio.

“Voices Carry” https://youtu.be/uejh-bHa4To

“Patient Zero” https://youtu.be/r4Ue1uKmLDo

“Looking Over My Shoulder” https://youtu.be/6Bs3h87eeFU

“What About Love” https://youtu.be/YHPRtPZwSNI

By Tom Semioli

Before the Boss and his E Street Band came to define the patented sound of a certain Jersey Shore metropolis, therein ruled one of rock ‘n’ roll’s greatest rhythm and bar bands: Southside Johnny & The Asbury Jukes. As I was witness, woe to any ensemble that followed Messrs. Lyon, Little Steven, and the mighty Miami Horns in concert.

Akin to the manner in which the British Invasion bands reminded and re-educated us Yanks of our storied musical history – The Jukes avidly turned my generation on to Ray Charles, Solomon Burke, and The Ronettes to cite select few. With his no frills Fender Jazz, founding bassist Alan Berger was flawless; soulfully swinging the massive, and oft maniacal Jukes akin to the Basie, Miller, and Dorsey Big Bands of my parents’ era. Yet Berger and his mates also piled their craft with the rock ‘n’ roll fervor of the Rolling Stones and The Animals. 

The Jukes first three releases: I Don’t Want to Go Home (1976), This Time It’s For Real (1977), and Hearts of Stone (1978) are among the most lasting and finest albums of their era and genre. Though they never enjoyed the commercial success they so richly deserved, Southside Johnny & the Asbury Jukes were a tremendous influence on blue collar rockers far beyond the hallowed stage of the sanctified Stone Pony!

Alan Berger Sound & Vision

“Trapped Again” https://youtu.be/03-CW89SSW4

“I Don’t Wanna Go Home” https://youtu.be/D7JeaeElcQg

“Talk To Me” https://youtu.be/oyHdnYmqt0o

By Thomas Semioli

There are the players that accept the instrument for what it is, and there are those who have no other choice but to break new ground…

A session giant and among the most spirited and recognizable proponents of the extended range “bass guitar” (as he insists the instrument be referred to)– in particular his “contrabass” six string –  Anthony Jackson’s influence and impact on modern music is incalculable.

From his iconic picked motif on the O’Jay’s “For the Love of Money,” to his stellar pocket work on thousands of recordings and concert performances including Luther Vandross, Steely Dan, Chaka Kahn, Paul Simon, Michel Petrucciani, Hiromi, Chick Corea, Al Di Meola, Mike Stern, Lee Ritenour, and Roberta Flack to cite an extremely select few – Jackson is a harmonic and groove master. An educator, collaborator, and composer – sans Anthony Jackson, the extended range electric bass as we know would still be considered an anomaly.

Anthony Jackson Sound & Vision:

Dig Anthony with Harvey Mason and Lee Ritenour “P.A.L.S.” https://youtu.be/Qmi733Qnpnw

Dig Anthony with the O’Jays “For the Love of Money” https://youtu.be/GXE_n2q08Yw

Dig Anthony working the pocket with Simon & Garfunkel in Central Park https://youtu.be/RGK19Pg6sB0

Dig Anthony with Garland Jeffreys on “Ghost Writer” https://youtu.be/A-xf8ePtTt8

Dig Anthony’s “12 Bars No Blues” https://youtu.be/nXUHO3bE-F4

Dig Anthony with  Robben Ford (guitar), Jimmy McGriff (organ), Bernard Purdie (drums), and the horn section of Phil Woods (alto), Bob Berg (tenor) and Art Farmer (trumpet) “Palisades in Blue.” https://youtu.be/MIb4I6lu6JQ

Photos courtesy of Anthony Jackson Facebook

By Thomas Semioli

If you were a working bass player in 1986 – which I was, then you were especially blown away by Paul Simon’s Graceland – which was a showcase for the fretless mastery of Bakithi Kumalo. Great songs make for great bass lines, and the compositions and melodies for which Mr. Simon is mostly credited for are an astonishing meld of American pop and South African music.

The bass solo many of us attempted to transcribe from the hit single/video https://youtu.be/uq-gYOrU8bA “You Can Call Me Al” [Note the Leo Quan bridge on Paul’s Fender P bass in the clip with Chevy) is actually a studio splice: the opening motif was recorded as is, and the closing phrase is actually the opening motif in reverse.

Born into a musical family in Soweto, Johannesburg, Bakithi nailed his first gig at the age of 7, subbing for his bass playing uncle. A top session player since the 1970s, Kumalo incorporates elements of African and old-school rhythm and blues in his passages. Bakithi’s bass heroes include Jaco, James Jamerson, and Alphonso Johnson.

Aide from my chimin’ about Bakithi and rhymin’ Simon, Kumalo has an impressive catalog of solo releases and collaborations with Joan Baez, Cyndi Lauper, Herbie Hancock, Tedeschi Trucks Band, Randy Brecker, Grover Washington Jr., and Mickey Hart.

Bakithi Sound & Vision:

With Paul Simon:

“Diamonds on the Soles of Her Shoes” live https://youtu.be/Fmf9ZJ_Yn0A

“Boy in the Bubble” https://youtu.be/Hk7MCvCHNQA

Solo Bakithi

“Step On the Bassline” https://youtu.be/l91Q_J57Y00

“Masala: https://youtu.be/jWyoTz9H-NI

Every rock bassist, regardless of the respective sub-genre(s) in which they toil, owes infinite homage to the late William Patton “Bill” Black.

A showman, bandleader, upright slap master, and one of the first electric players to wax a side (“Jailhouse Rock’) – Black and his longtime colleague guitarist Scotty Moore, and D.J. Fontana were Elvis Presley’s “Blue Moon Boys.”

Bill’s motifs for “That’s All Right,” “Hound Dog,” and “Heartbreak Hotel” set the standard for rock bass.  

Born in Memphis, Bill started out on guitar and took up the bass as a teen, modeling his technique after Fred Maddox, known for his slap style. Black met future Elvis guitarist Scotty Moore while working the club circuit with such notable local cats as Paul Burlison, Johnny Burnette, and Dorsey Burnette.

In July 1954, Moore and Black were tabbed to back a fresh-faced kid named Elvis, and the rest as they say is history.  Bill had a profound influence on Elvis’ stage antics, prodding the shy singer to exaggerate his moves.

Following his tenure with Presley, Black formed Bill Black’s Combo which waxed several albums and chart hits from 1959 to 1962. Black passed from a bout with cancer in 1965. His upright bass is owned by Paul McCartney.

Bill Black Sound & Vision…

“Good Rockin’ Tonight” https://youtu.be/6FeWJHUB8aU

“Heartbreak Hotel” https://youtu.be/W4euyTDhFnk

“That’s All Right” https://youtu.be/DCP_g7X31nI

“Hound Dog” https://youtu.be/lzQ8GDBA8Is

“Jailhouse Rock” https://youtu.be/PpsUOOfb-vE

Dig The Bill Black Combo “Smokie” with Black workin’ the thumb! https://youtu.be/Lm_xBHCtubM

Dig Sir Paul with Bill’s bass: https://bit.ly/2G6i5Wh

He is a tall Guy who anchored “Georgy Girl,” “I’ll Never Find Another You,” and “Someday One Day” ….

Bassist, singer, composer, Victorian Parliament member, television host, community minded corporate consultant, and wine maker, among other endeavors, Athol George Guy is a founding member of Australia’s legendary pop folk quartet The Seekers.

A pure pocket player with an engaging stage demeanor, nowadays the Aussie bassist continues to tour and record with Athol Guy and Friends, along with occasional reunions of his iconic ensemble. 

Athol Guy Sound & Vision with The Seekers…

“Georgy Girl” https://youtu.be/wsIbfYEizLk

“I’ll Never Find Another You” https://youtu.be/wZf41UudAbI

“Someday One Day” https://youtu.be/VfJ-ul4TfBc

His crisp plectrum tone and deftly articulated passages anchored one of rock’s most influential ensembles: The Smiths.  Though Moz and Marr garnered the glam and glory, the rhythm section of Mike Joyce and Andy Rourke added a swing element to their slabs ‘n’ singles which afforded the Mancunian lads a unique rhythmic identity.

Andy braided Morrissey’s tuxedoed tenor croon with the sus-chord sorcery of Johnny Marr with pocket grooves punctuated with fluid counter-melodic passages, double-stops, chords and soulful rhythms. 

Dig Andy on “Heaven Knows I’m Miserable Now” with many of the above referenced assets on one track!

A producer, writer, collaborator, bandmember, among Rourke’s post Smiths endeavors included waxing tracks and/or stage work with The Pretenders, Badly Drawn Boy, Ian Brown, Blitz Vega, Free3bass (with Mani and Peter Hook), D.A.R.K with the late Dolores O’Riordan and Ole Koretsky, and various stints as a DJ and radio host.  Andy also composed for television (Anthony Bourdain) and film.

His main weapon of choice was the Fender Precision, along with old reliable Peavey Mark III bass head.

Andy Rourke Sound & Vision…

Andy with D.A.R.K. “Curvy” https://youtu.be/YWo-tNkHnOE

Andy with Mike and Moz “Last of the Famous International Playboys” https://youtu.be/Bk1wUKoXL20

Andy with Free3bass: https://youtu.be/SMiKVwInp7g

Classically trained at New York University, flautist/bassist Andy Kulberg anchored one of rock’s most influential ensembles; Blues Project. Composer of “Flute Thing” Andy was among the first wave of electric rock bassists who drew from jazz, blues, and folk in an improvisational rock context. Following Blues Project, Andy formed Seatrain, which broke ground in rock roots music including a fine self-titled sophomore slab produced by George Martin.    

Andy Kulberg Sound and Vision:

With Blues Project:

“Flute Thing” https://youtu.be/ERxBkzoYIp8

“Steve’s Song” https://youtu.be/HeYLMC7W6ZE

“I Can’t Keep from Crying” https://youtu.be/1Uxalc0o10s

With Seatrain:

“Willin’ https://youtu.be/iV9C8jlhOmY

By Tom Semioli

Aside from his highly acclaimed tenure in Ride as a singer, songwriter, and guitarist – Andy Bell helmed the bass chair for Oasis following Guigsy’s sack, and later, for Liam Gallagher’s Beady Eye.

Essentially a riff and roots player, Bell kept his head down, avoided conflict, collected his cheques, and was the only member of the brothers Gallagher gang that composed songs that didn’t sound as if they were lifted from Lennon outtakes such as “The Nature of Reality,” “Turn Up the Sun,” and “Keep the Dream Alive”  among others.  

Andy Bell Sound and Vision with Oasis:  

“The Nature of Reality” https://youtu.be/N_7gFLkzT6g

“Turn Up the Sun” https://youtu.be/V_Pxz8keRww

“Keep the Dream Alive” https://youtu.be/neoqgelvmu4