Our resident bass aficionado Marc takes on a phenomenal tour of the creation and evolution of the venerable Fender "P Bass." From the instrument's notable transition years to the latest and greatest standout models, no bass has stood the test of time or affected the trajectory of music—from rock 'n' roll to r&b and more—like this one. Take a listen to some of our favorite models and the songs that inspired us.

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The double bass, as a very large instrument, is often regarded as physically cumbersome and difficult to transport compared with smaller instruments. It was also becoming hard to hear in large bands or those that used amplified instruments, and it requires specialised skills to play that are distinct from those required to play the guitar.

The Precision Bass was designed to overcome these problems. The name "Precision" came from the use of frets to play in tune more easily than upon the fretless fingerboard of the double bass. The electric bass, however, lacks the distinctive acoustic qualities of the double bass, offering a more solid, harder-edged sound with more sustain. The bass guitar became more dominant and transformed the beat and rhythm of pop music from jump blues and swing to rhythm and blues, rock, soul and funk.

Acceptance of the electric bass was initially slow, as upright bassists looked at this new instrument with similar contempt, as guitar players did with its solid-body sibling, the Telecaster. It was vibraphonist/drummer Lionel Hampton's band that was among the first to incorporate the new instrument, with subsequent help by the endorsement of Elvis Presley's bass-player Bill Black, who was beginning to use a Precision Bass during the filming of Jailhouse Rock. It was reputed that Black became so frustrated over his initial inability to get used to playing it, he angrily threw it on the floor. Fender also delivered an early Precision to Los Angeles session bassist and arranger Shifty Henry. Monk Montgomery became the second jazz player to popularize the "Fender Bass"; first, while playing with Lionel Hampton; and then with his brother, guitarist Wes Montgomery. By the end of the 1950's the "P-Bass" was finally gaining acceptance with both rock 'n roll and country bassists, as well as guitarists who would double on the instrument; most notable, was Carol Kaye, a jazz guitarist, who as a bassist, became best-known for her work as part of the consortium of L.A. session musicians, known as The Wrecking Crew.

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Riffs:
"New Year's Day" by U2/Adam Clayton (0:00)
"Message in a Bottle" by the Police/Sting (3:32)
"Green Onions" by Booker T. and the MGs/Donald "Duck" Dunn (5:50)
"Ain't No Mountain High Enough" by Marvin Gaye and Tammi Terrell/James Jamerson (6:53)
"London Calling" by the Clash/Paul Simonen (8:28)
"I Can't Help Myself" by the Four Tops/James Jamerson (9:09)
"It's So Hard to Say Goodbye to Yesterday" by GC Cameron/Boyz II Men (10:29)

Gear Used:
Fender 1953 Precision Bass
Fender 1957 Precision Bass
Fender 1958 Precision Bass
Fender 1960 Precision Bass
Fender 1976 Precision Bass
Fender 1983 Precision Bass (’62 Reissue)
Fender American Standard Precision Bass
Fender American Professional Series Precision Bass
Ampeg B-15N Fliptop 1969 w/ Changed Transformer

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