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Credit: Far Out \/ Led Zeppelin<\/p>\n
Thu 3 September 2026 10:03, UK <\/p>\n
The idea of a perfect musician differs from individual to individual, and there is no artist that every rock fan would collectively put in this lofty position. However, when it comes to the bass guitar, few are better placed to offer their perspective regarding the greats of the instrument than Led Zeppelin<\/a>\u2018s John Paul Jones.<\/p>\n Since rock music started to take form in the 1950s, various icons have come along to progress the bass guitar as an instrument and take it to new heights. Over the decades, fans have been blessed with an array of magnificent bass players, such as James Jamerson, Jack Bruce, Bootsy Collins, Flea and Les Claypool. Each of those names redefined the instrument\u2019s capabilities with their respective oeuvres, producing absolute treasure troves of genius.<\/p>\n However, while the aforementioned names often come up in discussions about legendary rock musicians, Led Zeppelin\u2019s John Paul Jones is mentioned less frequently despite his band being a groundbreaking force in rock music. One major reason Jones\u2019 contributions are often overlooked is that he shared the stage with the larger-than-life personalities of John Bonham, Robert Plant, and Jimmy Page. Nevertheless, Jones was a crucial component who made the rest of the band function seamlessly.<\/p>\n Like Page, Jones began working as a session musician after playing in bands such as The Deltas as a teenager. During this apprenticeship, the bassist cut his teeth and refined his craft to the extent that he elevated the music of all those he worked for. It was an exciting period of his life, and not only did he learn how to get to grips with how to operate in a studio environment, but he also performed on the records of some of the most prominent acts of the day, including Donovan, The Rolling Stones, Lulu, Dusty Springfield and Cat Stevens.<\/p>\n Before too long, in 1968, Jones was enlisted for Page\u2019s new group, The New Yardbirds, who would eventually become Led Zeppelin. The rest was history, and by the dawn of the 1970s, they had dethroned The Beatles as the biggest group on earth, a testament to their combined talent. <\/p>\n Although Led Zeppelin moved rock in a new direction<\/a>, they greatly admired The Beatles. When talking to NME in 1970 as part of his first major interview, Jones discussed his favourite bassists. After naming jazz greats such as Ray Brown and Charles Mingus and the work of Motown players, he showered praise on Paul McCartney.<\/p>\n \u201cYou can\u2019t get away from [Motown],\u201d Jones explained to the publication. \u201cEvery bass player in every rock group is still doing Motown phrases, whether he wants to admit it or not.\u201d<\/p>\n Further reading: From The Vault<\/strong><\/p>\n Jones then turned his attention to his generation\u2019s two most popular bassists. The Led Zeppelin co-founder labelled Cream\u2019s Jack Bruce as \u201cvery good\u201d but caveated his point by revealing that he was \u201cnot too keen\u201d on his overall sound. However, when examining the talent of The Beatles\u2019 bassist, all he had was good things to say. <\/p>\n \u201cI think he\u2019s perfect,\u201d Jones said of McCartney. \u201cHe\u2019s always been good. Everything he\u2019s done has always been right. Even if he didn\u2019t do too much, it was still just right. He\u2019s improved so much since the early Beatles days, and everything is still right.\u201d<\/p>\n Sometimes the notion of perfection can sway an audience in the wrong direction. Perfection doesn\u2019t have to be exuberant or even necessarily hitting every note with technical precision, but allowing the performance to fit as snugly into the song as possible. So rather than being perfect, it is more closely aligned to the idea of being \u201cjust right\u201d. For The Beatles, and therefore some of the most beloved music of all time, McCartney was the proverbial Goldilocks\u2019 porridge.<\/p>\n Knowing when to hold them and when to fold them isn\u2019t just an adage that will save your skin in a game of poker, but will make you a seriously intuitive musician. McCartney\u2019s philosophy in the studio would allow him to perform amply without ever overcomplicating or overshadowing the song itself. Jones seems to understand that better than most, allowing his own bandmates to shine while he holds down the low end.<\/p>\n If it was up to McCartney, he would never have become a bassist. However, he was forced to learn the instrument upon Stuart Sutcliffe\u2019s departure from the group and quickly expressed his natural talent on the instrument. Although McCartney has grown to love the bass<\/a>, he did confess in 2007, \u201cNobody wants to play bass, or nobody did in those days.\u201d<\/p>\n First and foremost, McCartney is viewed as a songwriting genius. Therefore, he\u2019s often left out of the conversation regarding the best bassists of all time. Admittedly, this is somewhat surprising considering the wealth of classic tracks to which he has contributed bass. By no means is McCartney a virtuoso of the instrument in a technical sense, but there\u2019s beauty in the simplicity of his playing, which, like Ringo Starr\u2019s drumming, aided the Fab Four tremendously. <\/p>\n<\/p>\n
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