[re-posted from the July 16, 2001 edition of "5"]
We all know how under-appreciated sidemen can be. And when it comes to bass players, well, just how many of them can the average music fan name? Not many. (Even if they own/love/cherish a particular record on which this person played on.) After Paul McCartney, Sting, Geddy Lee, Flea and a few others, it starts to all go downhill–in terms of recognition–for our 4-string brothers of the rock/pop persuasion. So this time out we’ve decided to feature some low frequency demons who deserve way more props and admiration. How low can you go, indeed.
GEEZER BUTLER (Black Sabbath)
While the mighty Sabbath is universally recognized as point zero for all that is heavy in rock music, Butler’s contributions to Sabbath’s sound have been seriously overlooked. Not only a blues-based virtuoso whose lines gave guitarist Tony Iommi’s riffs that extra ominous depth, but a fluid bassist who often propelled the band’s tunes to new heights. Any doubts? Refer to "War Pigs" and "Fairies Wear Boots" from the seminal Paranoid (Warner Bros-1970) or catch him on the road at a stage near you. A geezer he may be but the man’s still got it.
COLIN MOULDING (XTC)
While his bandmate, vocalist guitarist Andy Partridge, may be the most prolific and best-known member of the British pop institution that is XTC, Mr. Moulding has been no slouch: the writer of such seminal tunes as "Making Plans For Nigel", "Life Begins At The Hop" and "Generals and Majors" is a wonderful vocalist with mean 4-string chops to spare. Just check out "Earn Enough For Us"–from Skylarking (Geffen-1987)–"The Mayor Of Simpleton"–from Oranges and Lemons (Geffen-1989)–and any of the above mentioned tunes for a crash course in killer bass playing.
KRIST NOVOSELIC (Nirvana)
Between Kurt Cobain’s angst-ridden howls and Dave Grohl’s Thor-like drumming it may have been easy to miss Mr. Novoselic’s high-octane, low frequency roar. But make no mistake: a more solid rock bassist you’d be hard pressed to find. Novoselic unquestionably crystallized the bass-player-as-sonic-glue theory often espoused when characterizing the bass player’s traditional role in a rock combo. And as far as his endeavors and aspirations in politics, we must say Senator Novoselic does have a nice ring to it.
TOM PETERSSON (Cheap Trick)
While to many he may have been just a pretty face anchoring the crunchy power pop tunes sung by Robin Zander and written by guitarist Rick Nielsen, Petersson is much more than that: a talented innovator and visionary who experimented early on with 8, 10 and 12 string basses and opened the door for people like Pearl Jam’s Jeff Ament–check out both the intro and outro to "Jeremy"–among many others. And what would Cheap Trick classics "I Want You To Want Me", "Surrender" and "If You Want My Love" be without his signature groove and feel?
ANDY ROURKE (The Smiths)
As is the case with most bands, the larger than life personas of both the lead vocalist and guitarist often obscure the vital contributions of their vastly talented rhythm section. Especially, in this case, those of Mr. Rourke. A quick run thru Smiths’ classics like "This Charming Man" and "Heaven Knows I’m Miserable Now"–just to mention two–and you’ll immediately see–um, hear–what we’re talking about: tastefully melodic, McCartney-esque basslines that more often than not were the highlight and driving essence of many of the songs. Hats off, Andy.
HONORABLE MENTIONS: Eric Avery (Jane’s Addiction), Robert DeLeo (Stone Temple Pilots), Norwood Fisher (Fishbone), Duff McKagan–also a killer drummer!! (Guns’N’Roses), Quique Rangel (Café Tacuba).
