The 20 Most Underrated Bass Guitarists
Page 1 of 2
First things first: Nearly all bass players are, by definition, underrated and overlooked, since the focal point is usually the lead singer or the guitarist. But even in discussions of great bass guitarists, a select few names get thrown around all the time: Victor Wooten, Flea, Les Claypool, Geddy Lee, etc.. So this week we thought we’d pay tribute to a few of the less-celebrated bass guitarists with fantastic chops from the past several decades of popular music.
Mexican-American bassist Roy Mitchell-Cárdenas has a unique, multi-stylistic approach to the bass that colors Mutemath’s diverse sonic palette. He’s proven himself adept in the rock, jazz, funk and salsa idioms and can play numerous other instruments, including upright bass, guitar, drums and keyboards. In Mutemath, his active bass lines are largely responsible for the band’s distinct Latin flavor. Aside from his main gig, Mitchell-Cárdenas has served as a prolific session bassist and has been performing with bands since the age of 12.
Also known as Zach Smith or simply ABSIV, Pinback’s Armistead Burwell Smith IV often plays his bass as a melodic treble instrument, frequently utilizing its upper register and blending it with the obligatory low end to create sharp, melodic lines that intricately weave in and out of fellow bandmate Rob Crow’s guitar parts to the point where it’s hard to tell if it’s a bass being played or two guitars.
Affectionately known as “Two Tone Tommy,” Tom Blankenship is the eye of the psychedelic hurricane that is My Morning Jacket. A traditional bassist in the truest sense of the word, his playing is all about being the backbone in the background: Each note and groove he plays is tasteful, allowing Jim James and Carl Broemel to propel into the ether.
A big reason Robert DeLeo is so underrated (along with his guitarist brother Dean DeLeo) is because Stone Temple Pilots get a lot of flack from music critics. But if you can get past Scott Weiland’s ridiculous antics that generally hog the spotlight, STP reveal themselves to be quite a weird band, spinning elements of country and psychedelia and even old ’50s and ’60s melodies into their grungy sound. Robert DeLeo’s bass lines stand at the center of it all, supremely melodious, swift and syncopated, encompassing the whole register of the bass and winding around the straightforward drumbeats and guitar chords like coils.
Before 311 became the awful band they are today, they crafted a unique sound, an amalgam of Beastie Boys-inspired rap, heavy punk rock, reggae and funk the likes of which had hardly been explored at the time — and the jaw-dropping technical proficiency of Aaron Wills (a.k.a. P-Nut) helped make them the genre-bending band they once were. Boasting one of the most blistering slap techniques in rock as well as proficiency with melodic hammer-on riffs and a real ear for tasteful grooves, it’s a shame the guy gets so overlooked today due to his band’s recent ultra-lame output — which subsequently restricts how much he’s able to do on his instrument.
To be in a power trio you’ve got to be able to at least hold your own on your instrument, but Muse’s Chris Wolstenholme is a legitimate animal on the bass. Bandmate Matthew Bellamy has a fast, often manic guitar style, and Wolstenholme not only matches his speed and intensity but simultaneously creates a huge, cavernous low end that allows Bellamy to soar. The fuzzed-out, aggressive bassline that drives “Hysteria” is a perfect example of his agility and sheer power.
Phil Lesh has received nearly as much credit as Jerry Garcia over the years, since the Dead are the godfathers of the so-called “jam” scene, but Phish’s Mike Gordon often gets overlooked due to the obvious dominance of guitarist Trey Anastasio (and, to a lesser extent, keyboardist Page McConnell). But many musicians who’ve collaborated with Gordon have referred to him as the best bassist they’ve ever heard, and it’s easy to see why. Gordon works his five-string to full effect, playing tasteful pocket grooves that emphasize the bass’s tonal range and distilling unusual elements of calypso, bluegrass and traditional Jewish music into his sound. Coupled with a punchy picked-bass style and an airtight slap technique, Gordon is downright beastly.
Beyond the irresistible swagger of his most famous bass riff (“Another One Bites the Dust”), Queen’s John Deacon provided a chameleonic, diverse sound, adapting effortlessly to the unpredictable flamboyance of Freddie Mercury and Brian May. He also proved technically adept with the complex chord changes of much of Queen’s music and contributed swift walking lines, his bass parts often functioning as a co-lead instrument to May’s wailing guitar work. Though renowned for his bass playing, Deacon was a multi-instrumentalist who sometimes contributed synths, guitars and drums to Queen’s albums.
One of the first female bassists to play the instrument with her fingers, Tina Weymouth provided an unbelievably funky, exuberant bottom end that could actually keep up with David Byrne’s limitless energy and demonstrated stunning technical chops — and she could dance in perfect synchronicity with the band all the while, no less. On songs like “Heaven,” she could dial the energy down, but the emphasis on unusual beat placement and swagger always remained intact.
As a member of heavy metal pioneers Black Sabbath, Geezer Butler took several new approaches to the role of the bass guitar, including detuning the strings to produce abnormally low, thick notes and tones and often using a wah-wah pedal (normally associated with the guitar). These two techniques in particular have influenced a slew of younger alt-metal and heavy metal bassists. Interestingly, Butler was originally a rhythm guitarist, but switched to bass when he joined Black Sabbath and found out Tony Iommi didn’t want a second guitarist on board.