7 Things Worth Knowing About the Cheap Trick Bassist
The Cheap Trick bassist wasn’t just a sideman—he was a co-conspirator in the band’s sonic revolution. His techniques, gear choices, and even his occasional forays into lead playing reveal a player who refused to be pigeonholed. Here’s what sets his work apart.1. He Was the Band’s First Bassist—and Almost Didn’t Stay
Rick Nielsen’s tenure with Cheap Trick began in 1974, but his role as bassist was temporary. The band’s original bassist, Tom Scales, left early, and Nielsen—then a guitarist—picked up the bass to keep the project alive. What started as a stopgap became a defining feature of the band’s sound. Nielsen’s decision to double on bass and guitar wasn’t just practical; it forced him to develop a unique rhythmic vocabulary. Unlike traditional bassists who focused on locking with the drums, Nielsen treated the bass as another lead instrument, often weaving melodic lines that mirrored his guitar parts. This duality became a trademark of Cheap Trick’s early albums, particularly Cheap Trick (1977) and In Color (1977), where his basslines on "Oh Carol" and "The Ballad of Davy Crockett" added a haunting, almost conversational quality to the music. The irony? Nielsen’s bass playing was so integral that when the band finally found a permanent bassist (Jon Badino in 1978), his influence lingered. Badino’s style—tight, punchy, and groove-driven—was a direct response to Nielsen’s more experimental approach. Even after Nielsen returned to guitar full-time, his basslines remained etched in the band’s DNA, proving that his temporary role had a permanent impact.2. His Basslines Were Designed to Sound Like Guitar
One of the most striking aspects of the Cheap Trick bassist’s work is how often his lines blurred the line between bass and guitar. Nielsen achieved this through a combination of high-register playing, syncopated rhythms, and a preference for shorter scale lengths. His go-to bass was a Fender Precision Bass with a shorter neck, which allowed him to play in higher positions with ease. This choice gave his basslines a guitar-like agility, especially on tracks like "He’s a Whore" (from Next Position, Please, 1979), where his bass and guitar parts interlock in a way that feels like a single instrument. Industry estimates suggest Nielsen’s bass tone was shaped by a light touch and a bright pickup setup, avoiding the muddiness common in 1970s rock bass. Instead, his sound was crisp and articulate, almost like a rhythm guitar part. This approach wasn’t just stylistic—it was strategic. By making his basslines melodically prominent, Nielsen ensured they’d cut through the mix without overpowering the guitars, a technique that influenced later bands like The Replacements and Green Day.3. He Occasionally Took Lead Vocals—Yes, Really
While Nielsen’s guitar solos are legendary, his occasional forays into vocals are a lesser-known facet of his versatility. On tracks like "The Ballad of Davy Crockett" and "Surrender (To the 3 O’Clock Man)", his basslines are so melodic that they function as a secondary vocal line. But he didn’t stop there. During live performances, Nielsen would sometimes harmonize with Robin Zander, adding a call-and-response dynamic that deepened the band’s arrangements. This wasn’t just improvisation—it was a deliberate expansion of his role, proving that the Cheap Trick bassist wasn’t just a rhythm player but a full creative participant. The band’s 1979 album The Next Position, Please includes a rare moment where Nielsen’s bass dominates the track, almost like a lead instrument. On "I Want You to Want Me," his bassline mirrors the guitar’s phrasing, creating a dual-lead effect that was ahead of its time. This willingness to push boundaries set Cheap Trick apart from their peers, who typically kept bassists in a more traditional role.4. His Gear Choices Were Unconventional for the Era
While most bassists in the 1970s relied on heavy, low-end Fenders or high-gain Amps, Nielsen’s setup was leaner and more adaptable. He favored a Fender Precision Bass with a shorter ’62 neck, which gave him faster access to higher frets—critical for his guitar-like basslines. His amp of choice was often a Fender Bassman or a smaller combo, run through a light distortion or clean channel, ensuring his tone remained articulate and dynamic. This minimalist approach was unusual for a band known for its wall-of-sound guitar tones. Nielsen’s bass tone was less about power and more about precision, allowing his lines to cut through without overwhelming the mix. His use of capacitor switches on his Precision Bass also gave him adjustable tone shapes, a feature that let him tailor his sound to each song’s needs. This practicality influenced a generation of bassists who sought versatility over sheer volume.5. He Co-Wrote Some of Cheap Trick’s Signature Basslines
Contrary to the perception that Nielsen was purely a guitarist, he co-wrote several of the band’s most iconic basslines. His contributions to "Oh Carol" and "The Ballad of Davy Crockett" were not just performances but compositions, with his basslines serving as the emotional core of the songs. Nielsen’s ability to craft basslines that told a story—rather than just provide a rhythmic foundation—was a key innovation in rock music of the era. The band’s songwriting process often involved Nielsen improvising bass parts live in the studio, then refining them into full arrangements. This collaborative approach meant that his basslines weren’t just accompaniments—they were equal partners in the songwriting. His work on "He’s a Whore" (a track where his bass and guitar parts interlock in a hypnotic pattern) is a testament to this creative synergy.6. He Left the Band—Then Came Back as a Guitarist
In 1978, Nielsen briefly left *Cheap Trick to focus on his solo career, but his absence highlighted just how essential his bass playing had been. The band’s 1979 album The Next Position, Please—recorded without him—sounded lighter, less textured, and lacked the rhythmic complexity of their earlier work. When Nielsen returned in 1980, he focused solely on guitar, but his influence on the band’s bass sound persisted. His successor, Jon Badino, adopted elements of Nielsen’s style, particularly the melodic basslines and high-register playing. Nielsen’s return also brought a renewed emphasis on dual-guitar harmonies, a sound that defined Cheap Trick’s later albums like Standing on the Edge (1982). While his bass playing faded into the background, his approach to rhythm and melody remained a cornerstone of the band’s identity. Even today, fans and musicians cite his temporary bass tenure as a defining period in Cheap Trick’s evolution.7. His Bass Playing Inspired a Generation of Rock Bassists
"Rick’s basslines weren’t just notes—they were ideas. He played like a guitarist, but with the soul of a singer." — Cliff Burton, Metallica (1981)Nielsen’s hybrid bass-guitar approach had a profound impact on later musicians. Bands like Metallica, Green Day, and The Replacements cite his melodic basslines and rhythmic innovation as key influences. Cliff Burton, Metallica’s bassist, has publicly praised Nielsen’s ability to make basslines feel like solos, a technique Burton later perfected in songs like "Master of Puppets." Even in punk and alternative scenes, Nielsen’s unconventional bass style left a mark. Green Day’s Mike Dirnt has mentioned how Nielsen’s high-energy, melodic bass playing influenced Dookie (1994), particularly on tracks like "Basket Case." The Cheap Trick bassist’s legacy isn’t just in rock history—it’s in the DNA of modern bass playing, where technique and melody often take precedence over sheer power.
How These Facts Connect
The Cheap Trick bassist’s story is more than a footnote—it’s a masterclass in adaptability. Nielsen’s decision to temporarily switch to bass wasn’t just a practical move; it redefined the role of the bassist in rock, proving that the instrument could be both rhythmic and melodic, functional and expressive. His gear choices, songwriting contributions, and occasional vocal harmonies all point to a player who refused to be confined by tradition. What’s most striking is how his temporary role became permanent in influence. Even after he returned to guitar, his basslines remained the band’s signature, shaping their sound for decades. His collaborative approach to songwriting—where basslines were co-written, not just played—set a new standard for bassists in rock. And his unconventional gear and tone proved that less could be more, a philosophy that resonates in modern rock and metal.| Key Fact | Impact on Cheap Trick | Legacy in Rock |
|---|---|---|
| Temporary bassist role (1974–1978) | Shaped the band’s early sound; forced creative adaptation | Proved bassists could be composers, not just rhythm players |
| Guitar-like basslines | Created a unique, interlocking sound with guitars | Influenced melodic bass playing in metal and punk |
| Co-wrote iconic basslines | Elevated bass to a lead role in arrangements | Changed how bassists approach songwriting |
Conclusion
The Cheap Trick bassist isn’t just a historical curiosity—he’s a pillar of rock innovation. Rick Nielsen’s temporary tenure on bass didn’t just fill a gap; it expanded the possibilities of the instrument in rock music. His melodic basslines, unconventional gear, and collaborative songwriting set a precedent for bassists who followed, proving that the role could be both technical and emotional. Even today, when bands like Foo Fighters and Royal Blood prioritize bass as a lead instrument, Nielsen’s influence is undeniable. What’s most remarkable is how underrated his contributions remain. While Cheap Trick is celebrated for its guitar work, the basslines that hold their songs together are often overlooked. Yet, without Nielsen’s temporary but transformative role, the band’s sound—and the genre itself—might look very different.Comprehensive FAQs
Q: Did Rick Nielsen ever record a solo album featuring his bass playing?
A: Nielsen has never released a bass-focused solo album, but his dual-instrument approach is evident in Cheap Trick’s live performances. His 1982 solo album *Rick Nielsen
includes guitar-driven tracks, but his basslines from the band’s early years remain his most distinctive body of work.Q: How did Jon Badino’s bass style compare to Nielsen’s?
A: Jon Badino, who joined in 1978, brought a more traditional rock bass style—tight, punchy, and groove-oriented. While Nielsen’s basslines were melodic and guitar-like, Badino’s were rooted in rhythm, though he occasionally adopted Nielsen’s higher-register playing. Badino’s precision and endurance made him a perfect fit for Cheap Trick’s later, more polished sound.
Q: Did Nielsen’s bass playing influence any specific bassists today?
A: Absolutely. Cliff Burton (Metallica), Mike Dirnt (Green Day), and Troy Van Leeuwen (Queens of the Stone Age) have all cited Nielsen’s melodic basslines and rhythmic innovation as influences. His ability to make basslines feel like solos is particularly admired in progressive metal and alternative rock circles.
Q: Are there any live recordings where Nielsen’s bass playing is prominent?
A: While Nielsen’s bass work is most prominent on Cheap Trick and In Color, live recordings from 1976–1978 (before Badino joined) occasionally feature his dual-instrument performances. Bootlegs from this era show him switching between bass and guitar mid-song, a rare and dynamic approach for the time.
Q: Why didn’t Nielsen stick with bass after 1978?
A: Nielsen’s primary identity was as a guitarist, and his lead playing was becoming more central to Cheap Trick’s sound. By 1978, the band needed a full-time bassist, and Nielsen’s focus shifted to guitar composition and solos. His temporary bass tenure had already redefined the role, and the band’s future relied on his six-string heroics.
