Two songs that prove Paul McCartney is an “overlooked” bassist, according to Geddy Lee
It’s difficult to argue that any aspect of The Beatles has been overlooked. Decades after the birth of Beatlemania, their compositions continue to rank amongst the most well-known and well-loved songs of all time, while their experimentation with musical engineering still influences modern production. The Liverpudlian four-piece changed music and the industry that surrounds it forever, and they have often been hailed the biggest and best band of all time as a result.
The mammoth legacy attached to the Fab Four extends to its individual members, particularly Beatles bandleader Paul McCartney. In partnership with John Lennon, the bassist forged some of the band’s most enduring and endearing songs, from the melancholic ‘Yesterday’ to the cultural milestone that was Sgt. Pepper’s Lonely Hearts Club Band. As such, he has come to be considered among the greatest songwriters of all time.
However, there is one aspect of McCartney’s musical talent that Rush vocalist Geddy Lee thinks has been undervalued. While the ‘Let It Be’ songwriter has consistently been praised for his affecting lyrics and everlasting melodies, Lee believes that McCartney has been “overlooked” for his instrument – the bass guitar.
While picking out his favourite bassists during a conversation with Rolling Stone, Lee shared his love for the Beatle, deeming him a “melodic player” and particularly praising his unusual route into playing the bass. Before he took up the four-stringed instrument, McCartney played in The Quarrymen as a rhythm guitarist. He fell into the bassist role when Stuart Sutcliffe decided to leave the band behind.
“He adapted, of course, and he picked it up,” Lee explained, “I just find his story really interesting, as a bass player.” The Rush bassist went on to suggest that this switch of instrument impacted McCartney’s approach to the bass, coming from a “much more melodic place,” something he suggested you can hear in tracks like ‘Taxman’ and ‘Come Together’.
On ‘Taxman’, which featured on the Beatles’ experimental 1966 album Revolver, McCartney’s bassline does bring a certain soulful energy to the track. As garage-inspired guitars screech just above, it grounds the track in a real groove. Likewise, his playing shines through on ‘Come Together’, which has become one of the most iconic bass lines of all time.
As whispered vocalisations and thumping percussion intensify the song, McCartney’s melodic bass-playing maintains the stability of the track. His bassline is so simple and subtle, yet so addictive. “It’s always so bouncy and melodic,” Lee enthused of his playing style, “and I think that’s really no small part of the infectious nature of Beatles songs. It really added a great element to those songs.”
Lee’s assertions are certainly correct. McCartney’s contributions to the enduring nature of the Beatles’ output is not limited to his lyrics. His addictively melodic bass lines were just as essential to the success of their music, providing tracks like ‘Come Together’ and ‘Taxman’ with a sense of melody and groove bubbling just beneath the surface.
As he switched from the guitar to the bass, McCartney brought with him a sense of playfulness and melody that would result in some of the most enduring bass parts of all time. It’s a style that few could emulate without having the same experience, without accidentally falling into the instrument.