His “Madchester” motifs launched a Britpop revolution in the 1990s.

With the Stone Roses and Primal Scream, Gary Moundfield’s magnificent meld of dub, rock, and psychedelia exuded massive, legato grooves and countermelodies coaxed from his arsenal of basses which included Rickenbacker, and a Jack Casady Epiphone, among others.

Dig Mani on “Ten Story Love Song” https://youtu.be/0uNLw3pXlVM

And on Primal Scream’s “Kowalski” https://youtu.be/ZVcwG-gY9dM

A Manchester United Devotee, in 2010 Mani joined forces with former Smiths bassist Andy Rourke and Joy Division / New Order bassist Peter Hook under the moniker Freebass, which waxed It’s A Beautiful Life before calling it a day.

What the reunited Stone Roses will do next is anyone’s guess, however here’s the bass passage that started it all “I Wanna Be Adored” https://youtu.be/4D2qcbu26gs

When David Jo first flew solo following the New York Dolls he assembled a streetwise ensemble for his first two releases which featured a core band of drummer Frankie LaRocka, guitarists Johnny Rao and Thomas Trask, and ex-Doll Syl Sylvain along with brilliant cameos by Ian Hunter, Dan Hartman, Stan Bronstein, Nona Hendryx, Scarlet Rivera, Sara Dash, Joe Perry, Felix Cavaliere, and producer/guitarist Mick Ronson to cite a distinguished few.

The bass player on those dates was the charismatic, pompadour coiffed Buzz Verno who laid the foundation pure, simple, and in-the-pocket to enhance David’s restlessly romantic character portraits set to three chords and a thundering backbeat.

Dig Buzz on stage with David for “Frenchette” https://youtu.be/08MuQAC5zpw

Dig the Buzz Verno Band with Joey Kelly…

Part One: https://youtu.be/vQ_UbAj7bhs

Part Two: https://youtu.be/wuAQaP59bPc

Courtesy of Fretless Monster Com

He is that rare bassist you can identify in one phrase!

Along with Jack Bruce, Jaco Pastorius, Fernando Saunders, Sting, and Pino Palladino  – Tony Franklin is among the most accomplished and recognizable fretless bassists to ply his craft in a primarily rock / pop context.

Franklin’s tenure with Jimmy Page, Chris Slade, and Paul Rodgers in The Firm profoundly augmented the language of hard rock bass – serving as a dual rhythmic foundation and harmonic catalyst.  His mastery of sustain coupled with his resonant tone showed just how magnificent the fretless can be when given the opportunity!   

A solo recording artist, composer, clinician, educator, and producer, among Tony’s top recorded works as a session cat / sideman / collaborator include platters with Glenn Hughes,  Jimmy Page, David Coverdale, Roy Harper, Donna Lewis, Tony MacAlpine, David Gilmour & Kate Bush, and Graham Bonnet to cite a select few.

Drawing his inspiration from the greats – Sir Paul, Jaco, Jamerson, and Queen’s countermelodic master John Deacon, Tony and Fender created a signature fretless and fretted Precision bass replete with a Hipshot Bass Xtender, a jazz bridge pickup, and vintage tuners.

An engaging presence on social media – keep up with Tony via his YouTube Page: Tony Franklin – The Fretless Monster and his website www.fretlessmonster.com

Tony Franklin Sound & Vision:

Glenn Hughes “I’m The Man” https://youtu.be/IO-36XiGxa8

The Firm “Satisfaction Guaranteed” https://youtu.be/p4zbS8pciTU

David Coverdale “Don’t You Cry” https://youtu.be/p4zbS8pciTU

VHF “Backside of Your Eyes” https://youtu.be/SNe9nAlQMXk

Tony Franklin “Never Be The Same” https://youtu.be/xP0sGkwl8X4

Tony Senatore rendering Tony Franklin with The Firm “Radioactive” https://youtu.be/i_Fy_YTaIOc

“I prefer to think of myself as a musician who is still learning and trying to do something every time out…” Geddy Lee

In their nearly 50 years of existence – Rush was a genre unto their own, bringing prog rock to the masses by way of their pop inclinations, work ethic, and overall canon which, to my ears, never was given to formulae and always seemed to move forward. Geddy and Rush filled stadiums, sold gazillions of albums,  and inspired musicians for as long as I can remember.

Bassist / singer / keyboardist / composer / author / baseball fanatic / wine connoisseur Gary Lee Weinrib experimented with a wide array of bass tones and instruments, among them Rickenbacker, Wal, Steinberger, and Fender Jazz. In fact, Fender created a massively popular Geddy Lee Signature Jazz bass which, in my opinion, tops Leo’s original designs and continues to be a best seller.

Working the pocket, and forging melodic passages Geddy influenced scores of players known for their chops and flash – yet he is a consummate compositional player who never allowed dexterity to take favor over melody or songwriting.

To choose one Geddy track is impossible. I’ll cite “Leave That Thing Alone” – a bass solo composition which to my ears reflects the expanse of Rush’s entire career wherein Lee quotes metal, jazz, progressive, blues, and funk – all within the span of 5:00.

Rush “Leave That Thing Along” https://youtu.be/iqyBq4vnuvc

That composition alone, and I am sure there are many, many, many more – is a testimony to Lee’s deep knowledge and reverence of the instrument and its role in every genre conceivable. This cat has every bass (pun intended) covered. Every serious student of the electric bass would be advised to study Lee’s work.

A true giant of the instrument, Geddy Lee has won scores of bass polls throughout his career, and his Geddy Lee’s Big Beautiful Book of Bass is essential reading.

Listen to Geddy discuss his book on CBC https://youtu.be/jIMmdOZlmrU

My educated guess is that when Charley T. “Muddy” Wilbury Jr. assembled his Heartbreakers in Gainesville, Florida, he never thought they’d be as influential as many of the artists that inspired him.

Founding Heartbreaker bassist Ron Blair (1976-82, 2002 -17) and his intermediary, the late Howie Epstein (1982-2002) both excelled in their supportive roles.

Blair was a bit more adventurous in the pocket as evidenced on Damn the Torpedoes (1979), Mojo (2010), and Hypnotic Eye (2014) wherein his harmonic movement and occasional embellishments surfaced amid the more sonically audible din of his mates. Among Ron’s weapons of choice included Fender Jazz, Hofner, and a Rickenbacker 4001.

Ron with Tom “ I Should Have Known It” https://youtu.be/3_iBKacXIA4

Epstein, who was also an accomplished vocalist, additionally distinguished himself as a producer on John Prine’s extraordinary Lost Dogs and Mixed Blessings (1995), and Eric Anderson’s Grammy winning Memory of the Future (1998), among others. Howie’s weapons of choice included Fender Precision, and Epiphone, among others.

Howie with Tom “Jammin’ Me” https://youtu.be/TCFAzPl1QmE

Studio legend Duck Dunn played on two Petty tracks from the band’s first and third releases respectively – however to my ears, Donald did not render anything Mr. Blair couldn’t have cut! But that’s just my opinion, ask Jimmy Iovine.

Dig Duck on “You Tell Me” https://youtu.be/kjgY8OBf41k

As a bassist and vocalist for Mudcrutch (1970-75, 2007) and the Traveling Wilburys (1988-90), Tom Petty hardly deviated from the root -fifth routine on every track, which is exactly how you’re supposed to behave in the presence of Bob Dylan, George Harrison, and Roy Orbison en masse! Tom’s guitar collection was legendary, I’ve seen him with a Rickenbacker, Danelectro, Gibson ES…

Dig Tom on bass with Mucrutch: https://youtu.be/HlYeq5f9lqM

“The Fender bass player Carol Kaye…could do anything and leave the men in the dust…” Quincy Jones

“Carol, you’re the greatest bass player in the world…” Brian Wilson

She is Paul McCartney’s favorite bass player…

She was the primary anchor of “The Wrecking Crew” – a hitherto anonymous group of L.A. session musicians responsible for the instrumentation on thousands of recordings spanning pop records to television and film soundtracks.

If you lived in the 20th Century or listen to popular music in general, you’ve heard Carol Kaye on electric bass. By her own estimate, she has appeared on over 10,000 recordings in a six-decade (and counting as of 2020) career. I can’t imagine how many times she’s been sampled. To my ears, it’s impossible to categorize Carol with regard to style and tone as her bass artistry is purely chameleonic: Ms. Kaye assumes her role in any given musical situation with uncanny expertise.

She started out professionally as a be-bop guitarist in the late 1940s, working clubs in Los Angeles. In 1957 Carol broke into the studio scene, waxing sides with Sam Cook and other artists in Hollywood. Then one day in 1963, the “Fender” bassist failed to show up for a Capitol Records session date, and Carol took up the instrument and the rest, as they say is history….

In her 1960s heyday Carol’s choice of tools were a Fender Precision with flatwound strings and a plectrum which blended perfectly on seminal records by the Beach Boys, Ray Charles, The Righteous Bros., Johnny Mathis, Nancy Sinatra, Sam Cooke, Glen Campbell, Lou Rawls, Jan & Dean, Henry Mancini, The Lettermen, Paul Revere & Raiders, The Monkees, Sonny & Cher, Chris Montez, Andy Williams, Quincy Jones, Joe Cocker, Ike &Tina Turner, Mel Torme, Bobby Darin, Frank Zappa, Wayne Newton, Herb Alpert, Don Ho, Al Martino… her resume is exhaustive.

An educator, clinician, prolific author (Electric Bass Lines series, among others) , and bona fide pioneer of the electric bass, Carol Kaye’s sight-reading instructional materials are essential for all serious musos regardless of their chosen instrument! Do your homework at www.carolkaye.com

Carol Kaye Sound & Vision

Beach Boys “Good Vibrations” https://youtu.be/rQ-UFKxDq5o

Beach Boys “Sloop John B” https://youtu.be/MWJXTdCVsKI

Nancy Sinatra “These Boots Are Made for Walkin” https://youtu.be/rypT2qMO1RY

Glenn Campbell “Wichita Linemen” https://youtu.be/Q8P_xTBpAcY

Joe Cocker “Feelin’ Alright” https://youtu.be/zIIzp9cqyUk

Babs Streisand “The Way We Were” https://youtu.be/ifWOSnoCS0M

By Thomas Semioli

He’s had quite a life in rock and roll…and he’s still going strong on record and on the bandstand.

Salvatore Maida was among the stellar bassists employed by one of the most influential collectives in the history of rock ‘n’ roll, Roxy Music.

And he anchored one of the great lost glam pop ensembles of the 1970s – Milk ‘n’ Cookies.

Maida, who migrated to London from Little Italy at the onset of the glam rock movement to pursue his craft, shines on two stunning tracks which outstrip their respective studio versions – “Pyjamarama” and “Chance Meeting” – included on the iconic ensemble’s only live collection released during their 1970s reign as vanguards and innovators.

Utilizing a plectrum and a 1965 Fender Precision, and Dan Electro Longhorn, Sal lives for the pocket with a penchant for plying inventive upper register countermelodies.

Maida, who is also a writer/producer, additionally worked craft with the Sparks (Big Beat / 1976), David Lowery (The Palace Guards/ 2011), and Edward Rogers, among many others.

Sal was also a member of Cracker and appears on Greenland (2006) Sunrise in the Land of Milk and Honey (2009). Sal is married to singer songwriter, recording artist Lisa Burns, with whom he has collaborated with on several projects including her solo sides Unadorned (2004) and The Last Day of Winter (2014) by George Usher and Lisa Burns, among others . 

But don’t let me tell you about Sal, read his extraordinary autobiography Four Strings, Phony Proof, and 300 45s: Adventures from Roxy Music, Sparks, & Milk N’ Cookies (Perfect Press)

Dig Sal Maida on Know Your Bass Player On Film Season One – 2015 New York City, Euphoria Studios https://bit.ly/3lp6Wpb

“It’s like a tear in the hands of a western man… tell you about salt, carbon, and water…”

Pete Sears, who also distinguished himself as an in-demand session keyboardist, was the perfect choice to succeed the legendary Jack Casady in Paul Kantner’s ever-changing Jefferson Starship collectives.  Though Pete’s tone and approach to the instrument were in direct contrast from Jack – he is also an exemplary accompanist, soloist, and improviser.

A prolific plinker, composer, producer, and solo recording artist, Pete forged major contributions on seminal sides by Rod Stewart (Gasoline Alley, Every Picture Tells a Story, Never A Dull Moment, Smiler), Hot Tuna, Grace Slick, Nick Gravenites, Papa John Creach, Robert Hunter, Quicksilver Messenger Service, Kathi McDonald, and Starship to cite a very, very select few.

As a bassist – most notably in Jefferson Starship – Pete’s grooves and upper register forays cleverly merged the band’s multi-dimensional vocal arrangements as rendered by Marty Balin, Grace Slick, Paul Kantner, David Freiberg, and Mickey Thomas in various configurations. Sears’ extended bass solo was a highlight at many a Starship show as I was witness.

Dig Pete’s fingers close up on a modified Fender Jazz thanks to Ruper Coles https://youtu.be/5NH0RgFMdwM

Dig Pete workin’ a funk groove on  “Crusin’ https://youtu.be/BCvX_K_iLBk

Weapons of choice: a master pocket and melodic player Pete utilized a custom instrument created by one of Jerry Garcia’s favored craftsman, Doug Irwin (which went missing for 40 years and was recently returned), along with Fender Jazz and Rickenbacker instruments.

Dig Pete on “Hot Water” https://youtu.be/HIYKpWHnj3k

Pete continues to play his craft(s) in the studio and on the bandstand with Moonalice, and Harvey Mandel, among other ensembles.

Dig Pete with Moonalice “Goin’ Down The Road…” https://youtu.be/1fmRwrMAbHw

Pete Sears – Producer – Kathi McDonald / Insane Asylum

Her stage and studio credits include Long John Baldry, Ike & Tina Turner, Dave Mason, Joe Cocker’s Mad Dogs & Englishmen, the Rolling Stones’ Exile on Main Street, and Leon Russell & The Shelter People among others.

The late Kathi McDonald’s lost gem of a slab Insane Asylum (1974) is a magnificent mélange of blues, hard rock, and soul. Produced and arranged by renowned keyboardist/bassist Pete Sears, Kathi’s esteemed collaborators include Ronnie Montrose, Nils Lofgren, Neil Schon, John Cipollina, and Papa John Creach.  

Dig the title track to Insane Asylum with Pete cutting the bass and keyboard tracks https://youtu.be/rnI9vUC6FKQ