Long before bass music existed as a rather messy catch-all term for bass heavy electronica that wasn’t dubstep or jungle or house, there was, of course, bass music. But the low-end didn’t always occupy the central slot. In the pantheon of 60s rock n roll, the bass was by and large the lead guitar’s poor relation. The 4 stringers just got on and did their thing, leaving the vocalists and axe-men to soak up the acclaim. Looking at pictures of Bill Wyman next to Mick and Keith it’s not hard to see why really. Even McCartney, arguably the world’s most famous bassist, isn’t really an exception although his bass playing was astounding, because McCartney the bass player was always overshadowed by McCartney the songwriter. Arguably, this is white music’s curse. Black music pushed the bass to the forefront of proceedings. It wasn’t til Sly & the Family Stone muscled in on the psychedelic rock scene that we had a bass hero in Larry Graham that did more than anyone to define his group’s sound. Funk, reggae and soul all revolved around the bass tones in a way that rock never did. But that’s not to demean the contribution the bassists of the 60s made to rock n roll history. Give me John Paul Jones’ extraordinary bass work-out on the Lemon Song over Jimmy Page’s tedious dungeons n dragons solo on Dazed and Confused any day of the week. And Clapton’s rock-God posturing may have nudged Bruce and Baker out of the limelight, but Jack Bruce’s bass lines gave Cream’s music the darkness and originality that have kept them in the money to this day. Look no further than ‘Badge’ for this, the stereo separation only adding to the bass line’s singularity. RIP Jack Bruce.