Six Days of Bass

The late 1970’s and into the early 1980’s Britain saw a remarkable rise in the range of fluid, innovative bass players inhabiting their music scene. Several ideas exist to explain the phenomenon; some say the rise of Northern Soul in the early 70s influenced an entire generation in their formative years to see the instrument as a vital shaper to song construction, while also providing a view of how another culture (black America) saw the instrument (funky and soulful and as much a lead instrument as the guitar). For others it was a similar idea, with Jamaican dub and rasta culture being supplanted for Northern Soul. Inner cities of Britain had large Jamaican communities where dub and rasta emanated daily, filling anyone within earshot with deep, shaking grooves. Then, there is the homegrown influence: everyone’s lovable Beatle, Paul McCartney, had made the instrument seem as cool and worthwhile as any other (here the Who’s John Entwistle probably deserves a nod as well). Whatever the reason you believe (and in reality it’s probably a combination of all of these), the punk movement and the post-movement was packed with deep sounds, from Medium Medium to Gang of Four, the Au Pairs to Joy Division and the Slits, to Delta 5, the Jam and the Clash, (and on and on) the bass guitar stamped the era as much as any singular sound, perhaps in retrospect changing the preconceived notion that the time was embedded with throbbing bass as much as yelping, howling anger.  Continue reading