A major player on the alternative scene since the 1990s, Nathan Mendel has anchored the mighty Foo Fighters for several platinum slabs and stadium tours.

With his beloved candy apple red ’71 Precision, which Fender has replicated by way of a signature tribute model, Mendel works the lower register with precise harmonic and rhythmic movement to serve the singer and the songs – like most of us do.

Dig Nate talking Fender bass: https://youtu.be/Bnve6E1ij_4

Mendel was also a member of Sunny Day Real Estate, among other ensembles, and currently toils as leader of a side project entitled “Lieutenant.”

Dig Nate with Sunny Day Real Estate “In Circles” https://youtu.be/41YqzHoCgk4

Dig Nate with the Foos: “The Pretender” https://youtu.be/SBjQ9tuuTJQ

Gary Shea Know Your Bass Player Zoom Zezzions

We consider him to be in a class of preeminent hard-rock bassists of his generation. Gary Shea recalls his early days, influences, his tenure with New England, working with Todd Rundgren and Eddie Kramer, and an intimidating audition with Clive Davis among other stories of a life in rock and roll! Writers/Interviewers: Tom Semioli, Robert Jenkins. Editor: Mark Polott.

Executive Producer: Mark Preston

Gary Shea reveals his approach to anchoring guitar virtuosos Yngwie Malmsteen and Steve Vai, and demonstrates his “patented plectrum prowess!” Writers/Interviewers: Tom Semioli, Robert Jenkins. Editor: Mark Polott. Executive Producer: Mark Preston

Cost of the instrument from Manny’s Music on West 48th Street New York City: $148.00! Gary Shea Modifications: A Precision bass neck. Telecaster pickguard. Bootleg Fender decal on headstock. Elmer’s glue to fix crack in the neck. Quan Badass bridge. White out and filed clay dots on the neck. Notch above neck pick-up where Gary anchors his thumb. Tools used: hot butter knife! Sound of the Gary Shea’s bass unplugged: awesome! Sound of Gary Shea’s bass on record: awesome! Sound of Gary Shea’s bass on stage: awesome! Writers/Interviewers: Tom Semioli, Robert Jenkins. Editor: Mark Polott. Executive Producer: Mark Preston

Is the long-player obsolete? Doomed to extinction? Has playlist and individual song streaming rendered the traditional song-cycle irrelevant? What are the pitfalls, the advantages of digital music? Bassists Gary Shea and Robert Jenkins weigh in. Writers/Interviewers: Tom Semioli, Robert Jenkins. Editor: Mark Polott. Executive Producer: Mark Preston

Given that his photograph hardly appeared on any of the releases he played on (with the one notable exception of Boz Scaggs & Band) – his album credits are often mistaken for David Brown of the original Santana band in several archival / historical publications!

A pocket player with a soulful disposition, this David Brown was an accomplished studio player and sideman who anchored several slabs and/or concert performances by such acclaimed artists including Duane & Gregg Allman, solo Gregg, Betty Wright (“Clean Up Woman”), Boz, Kitty Wells, Martin Mull, Arthur Conley, Bonnie Bramlett and Elvin Bishop, to cite a select few.

Dig David Brown with Boz: “Monkey Time” https://youtu.be/mNtjYABkKhA

Dig Tony Senatore’s rendition of David’s bass passage for  “Clean Up Woman”  https://youtu.be/uobVPIvD2E8

Dig David with Gregg and Duane: “Morning Dew” https://youtu.be/UBRhAw-IMjQ

The bass police opened a vein – and continue to hemorrhage – whenever Paul’s forays into the extended range are mentioned.

To my ears– Paul was / is oft panned for what other artists are praised for. Macca’s trio of mid-80s slabs (Pipes of Peace / 1983, Press to Play / 1986, Flowers In The Dirt / 1989) were commendable pop efforts, and his low-B bass served the songs and the arrangements.  

At the time – the 1980s – the concept of the “legacy artist” in rock had yet to be established as it would be in the 1990s wherein producers such as Don Was and Rick Rubin (and record company suits) nudged older rockers to wax new records that echoed their classic sides.

Yet back in the Reagan / Thatcher / Phil Collins era, elder artists were “pressed” to sound “contemporary” lest they be considered irrelevant.

Take into strong consideration that musicians are curious by nature, and when new technology comes out, we want to use it! Nowadays “retro” is revered – and desired. As a 1980s working musician – my colleagues and I never considered “looking back.” That’s not what the Beatles did, nor Bowie, nor Miles. 

Bring on the Steinberger XL, DX 7, Linn Drum Machine. Paul’s employ of producers such as Hugh Padgham, Mitchell Froom, and his gravitation to the extended range bass was, in my opinion, a wise decision.

However many fans desperately hunger for their favorite artists to stay the way they were the first time they fell in love them, and they resist artistic evolution – despite the fact that their rock and roll heroes were innovators in the first place! That is the misstep, not Paul’s choice of instruments! Today the 5 string is a staple on stage, and in the studio.  And we must give credit once again to James Paul McCartney – who helped “legitimize” the extended range.  

At the zeitgeist of 1990s Brit Pop populism, Blur were among the finest ensembles of the era who actually lived up to the hype. Damon Albarn and Graham Coxon garnered much of the attention, as singer / guitarists are prone to do. However their not so secret weapon was bassist Alex James – who rendered extraordinary groove / countermelodic motifs as evidenced on such tracks as “Colin Zeal” (Modern Life Is Rubbish/ 1995) “Entertain Me” (Great Escape / 1995), “Girls and Boys” (Leisure / 1991).

Plying his craft with a plectrum, James’ primary tools of the trade included Fender Precision, Fender Jazz, and Ernie Ball MusicMan Stingray.

Alex James Sound & Vision: 

“Girls and Boys” https://youtu.be/WDswiT87oo8

“Beetlebum” https://youtu.be/WAXnqjUfal4

“Charmless Man” https://youtu.be/p1a_4CN4onA

He was the bass player who took care of business.

Recommended to Randy Bachman by Neil Young, Charles Frederick Turner is the “T” in BTO aka, the mighty Bachman-Turner-Overdrive. An accomplished singer, guitarist, composer – that’s CFT’s lead vocals on a few of Canadian band’s most recognizable hits including “Let It Ride,” and “Roll On Down the Highway” among others.

A pocket player now favors extended range (see below) and who plays to the song – Turner has occasionally reunited with his band-mates over the years, and has recorded and toured with Randy under the Bachman & Turner moniker.

Fred Turner Sound & Vision….

“Let It Ride” https://youtu.be/S13DozOsAu8

“Roll On Down the Highway” https://youtu.be/Gi0Opxwyino

“Takin’ Care of Business” with Paul Shaffer: https://youtu.be/ybtl9qVFAjc

https://youtu.be/VcbcYvBj9HY  August 8, 1969: the Fabs traversed the now iconic zebra crossing in St. John’s Wood and thus begat a multitude of multi-genre variations!

Such was the impact of Abbey Road that jazz master George Benson waxed his own CTI / Don Sebesky-ized version (The Other Side of… )with bassists Jerry Jemmott and Ron Carter; whilst Booker T & the M.G.’s rendered a southern soul Stax adaptation (McLemore Avenue / 1970) with Duck Dunn doing his thing.

To my ears, the winner here is Benson and his all-star cast including Freddie Hubbard, Mel Davis (Mel’s Place Baldwin, Long Island), Idris Muhammad, Ray Baretto, Hubert Laws, Herbie Hancock, Bob James, and Sonny Fortune!

Stephen Amazing Sound & Vision….