John Entwistle | |
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| Born | John Alec Entwistle (1944-10-09)9 October 1944 |
| Died | 27 June 2002(2002-06-27) (aged 57) Paradise, Nevada, U.S. |
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| Years active | 1961–2002 |
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John Alec Entwistle (9 October 1944 – 27 June 2002) was an English singer, songwriter, musician, composer and record producer, best known as the bass guitarist for therock bandthe Who. Entwistle's music career spanned over four decades. Nicknamed "The Ox" and "Thunderfingers",[2] he was the band's only member with formal musical training and also provided backing and occasional lead vocals. Entwistle was inducted into theRock and Roll Hall of Fame as a member of the Who in 1990.
Entwistle was the first member of the Who to begin a solo career in 1971 while still a member of the band, and has released seven solo studio albums, four compilation albums and two live albums. His best-selling studio album wasToo Late the Hero (1981), and itstitle-track his best-selling single. Musicians who have played on his albums include the Who'sKeith Moon,Peter Frampton ofHumble Pie,Joe Walsh of theEagles,Leslie West ofMountain,Vivian Stanshall,Neil Innes,Zak Starkey,Howie Casey,Dick Parry,Jimmy McCulloch ofPaul McCartney and Wings,Joe Vitale andTony Ashton.
Renowned for his musical abilities, Entwistle is widely regarded as one of the greatest and most influential rock bassists of all time. His instrumental approach featuredpentatonic lead lines and a then-unusualtreble-rich sound ("full treble, full volume"). He was voted as the greatest bass guitar player ever in a 2011Rolling Stone readers' poll[3] and, in 2020, the same magazine ranked him number three in its list of the "50 Greatest Bassists of All Time".[4]
John Alec Entwistle was born on 9 October 1944 atQueen Charlotte's Maternity Hospital inHammersmith,West London,[1][5] and brought up inChiswick,Middlesex, which is now part ofLondon.[6] He was an only child. His father, Herbert (1915–2003), played the trumpet[7] and his mother, Maud (née Lee) (29 November 1922 – 4 March 2011),[8] played the piano.[9] His parents' marriage failed soon after he was born, and he was mostly raised by his mother at his grandparents' house inSouth Acton.[10] Divorce was uncommon in the 1940s, and this contributed to Entwistle becoming reserved and socialising little.[9]
His musical career began at age 7, when he started taking piano lessons. He did not enjoy the experience and after joiningActon County Grammar School aged 11, switched to the trumpet,[9] moving to theFrench horn when he joined the Middlesex Schools Orchestra.[10] He metPete Townshend in the second year of school, and the two formed atrad jazz band, the Confederates. The group only played one gig together, before they decided thatrock and roll was a more attractive prospect.[7] Entwistle, in particular, was having difficulty hearing his trumpet with rock bands, and decided to switch to playing guitar, but due to his large fingers, and also his fondness for the low guitar tones ofDuane Eddy, he decided to take up the bass guitar instead.[11] He made his own instrument at home,[12] and soon attracted the attention ofRoger Daltrey, who had been in the year above Entwistle at Acton County, but had been expelled and was working as anelectrician's mate. Daltrey was aware of Entwistle from school, and asked him to join as a bassist for his band, the Detours.[13]
After joining the Detours, Entwistle played a major role in encouragingPete Townshend's budding talent on the guitar, and insisting that Townshend be admitted into the band as well. At this point the band consisted of Entwistle, Townshend and drummerDoug Sandom, a semi-professional player who was several years older than the others. Daltrey relinquished the role of guitarist to Townshend in 1963, instead becoming the frontman and lead vocalist.[citation needed]
The band considered several changes of name, finally settling on the name the Who while Entwistle was still working as atax clerk (temporarily performing as the High Numbers for four months in 1964).[14] When the band decided that the blond Daltrey needed to stand out more from the others, Entwistle dyed his naturally light brown hair black, and it remained so until the early 1980s.[15] Around 1963, Entwistle played in a London band called the Initials for a short while; the band broke-up when a planned resident engagement in Spain fell through.
Entwistle picked up two nicknames during his career as a musician. He was nicknamed "the Ox" because of his strong constitution[16] and seeming ability to "eat, drink or do more than the rest of them". He was also later nicknamed "Thunderfingers".Bill Wyman, bassist forthe Rolling Stones, described him as "the quietest man in private but the loudest man on stage". Entwistle was one of the first to make use ofMarshall Stacks in an attempt to hear himself over the noise of his band members, who famously leapt and moved about on the stage, with Townshend andKeith Moon smashing their instruments on numerous occasions (Moon even used explosives in his drum kit during one television performance onThe Smothers Brothers Comedy Hour). Townshend later remarked that Entwistle started using Marshall amplification to hear himself over Moon's rapid-fire drumming style, and Townshend himself also had to use them just to be heard over Entwistle. They both continued expanding and experimenting with their rigs, until they were both using twin stacks with new experimental prototype 200 watt amps, at a time when most bands used 50–100 watt amplifiers with single cabinets. All of this quickly gained the Who a reputation for being "the loudest band on the planet"; they reached 126 decibels at a 1976 concert in London, listed inThe Guinness Book of World Records as the loudest rock concert in history.[17][better source needed]
The band had a strong influence at the time on their contemporaries' choice of equipment, withCream andthe Jimi Hendrix Experience both following suit. Although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built or tweaked to their personal specifications), they only used Marshall equipment for a few years. Entwistle eventually switched to using aSound City rig, with Townshend later following suit. Townshend said thatJimi Hendrix, their new label mate, was influenced beyond just the band's volume. Both Entwistle and Townshend had begun experimenting withfeedback from the amplifiers in the mid-1960s, and Hendrix did not begin destroying his instruments until after he had witnessed the Who's "auto-destructive art".[citation needed]
Entwistle's wry and sometimes dark sense of humour clashed at times with Townshend's more introspective, intellectual work. Although he wrote songs on every Who studio album except forQuadrophenia (1973), Entwistle was frustrated at Daltrey not allowing him to sing them himself. As he said, "I got a couple [of songs] on per album but my problem was that I wanted to sing the songs and not let Roger sing them."[18] This was a large part of the reason[citation needed] that he became the first member of the band to release a solo studio album,Smash Your Head Against the Wall (1971), which featured contributions from Keith Moon,Jerry Shirley ofHumble Pie,Vivian Stanshall,Neil Innes and the Who'sroadie, Dave "Cyrano" Langston.
Entwistle was the only member of the band to have had formal musical training.[19] In addition to the bass guitar, he contributed backing vocals and performed the French horn (heard on "Pictures of Lily" and throughoutTommy), trumpet, piano,bugle, andJew's harp, and on some occasions he sang the lead vocals on his compositions. He layered several horns to create the brass section as heard on songs such as "5:15", among others, while recording the Who's studio albums, and for concerts, arranged ahorn section to perform with the band.
While Entwistle was known for being the quietest member of the Who, he in fact often exerted major influences on the rest of the band. For instance, Entwistle was the first member of the band to wear aUnion Jack waistcoat. This piece of clothing later became one of Townshend's signature garments.[20]
In 1974, he compiledOdds & Sods, a collection of unreleased Who material.[21] Entwistle designed the cover art for the band's seventh studio album,The Who by Numbers (1975), and in a 1996 interview remarked that it had cost £30 to create, while theQuadrophenia cover, designed by Pete Townshend, had cost £16,000.[22]
Entwistle also experimented throughout his career with 'bi-amping', where the high and low ends of the bass guitar are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded down with speaker cabinets and processing gear that it was dubbed "littleManhattan", in reference to the towering,skyscraper-like stacks, racks and blinking lights.
While Townshend emerged as the Who's songwriter-in-chief, Entwistle began making distinctive contributions to the band's catalogue, beginning with "Whiskey Man" and "Boris the Spider" on the band's second studio albumA Quick One (1966), continuing with "Doctor, Doctor" and "Someone's Coming" (1967); "Silas Stingy", "Heinz Baked Beans" and "Medac" from the band's third studio albumThe Who Sell Out (1967); "Dr. Jekyll & Mr. Hyde" (1968); and "Heaven and Hell", with which the Who opened their live shows between 1968 and 1970.[23]
Entwistle wrote "Cousin Kevin" and "Fiddle About" for the Who's fourth studio albumTommy (1969) because Townshend had specifically requested Entwistle to write 'nasty songs' that he felt uncomfortable with. "My Wife", Entwistle's driving, comedic song about marital strife from the band's fifth studio albumWho's Next (1971), also became a popular stage number. He wrote "Success Story" forThe Who by Numbers (1975), for which he also drew the illustration on the album cover; "Had Enough", "905", and "Trick of the Light" forWho Are You (1978); "The Quiet One" and "You" forFace Dances (1981); and "It's Your Turn", "Dangerous" and "One at a Time" forIt's Hard (1982), his final studio album with the Who.[2]
In May 1971, Entwistle became the first member of the band to release a solo studio album,Smash Your Head Against the Wall, which was born out of Entwistle's frustrations within the band, namely not having as many of his songs featured on their albums as he would've liked, and it features a guest appearance by the Who's drummerKeith Moon on one track ("No. 29 (External Youth)"), as well as strong musical influences from the band's work.
Entwistle self-produced the album and it was recorded atTrident Studios inSoho, London over 2 weeks, with a youngRoy Thomas Baker engineering the album (his first work). Baker would later become known for his work as a producer for the rock bandQueen, and the same studio piano that was used by Entwistle during the sessions for this album was later used byFreddie Mercury on "Bohemian Rhapsody".[24] The album peaked at No. 126 on the USBillboard 200 but it failed to chart in his home country.
In November 1972, Entwistle released his second solo studio albumWhistle Rymes. Entwistle co-produced the album with John Alcock, his first work with a producer after self-producing his debut studio album,Smash Your Head Against the Wall, and it was recorded atIsland Studios inWest London'sNotting Hill district. The album features guitar contributions from bothPeter Frampton ofHumble Pie andJimmy McCulloch (who would later joinPaul McCartney and Wings).
The album sold around 175,000 copies, and peaked at No. 138 on the USBillboard 200 but as with his debut studio album it failed to chart in his home country.
In May 1973, released his third solo studio albumRigor Mortis Sets In, the second studio album to be co-produced by Entwistle and John Alcock, it consists of two 1950s rock and roll cover versions, one 1960s cover, a new version of the Entwistle song "My Wife" from the Who's fifth studio albumWho's Next (1971), and new tracks (only six of the ten songs were original material).Rigor Mortis Sets In set in motion Entwistle assembling his own touring band during the increasing periods of the Who's inactivity.
Bearing the dedication "In Loving Memory of Rock 'n' Roll 1950–∞: Never Really Passed Away Just Ran Out of Time", Entwistle's affection for 1950s rock and roll was evident bycover versions ofElvis Presley's 1953 song "Hound Dog", andLittle Richard's 1957 song "Lucille". AsGeorge Lucas had releasedAmerican Graffiti (1973) at the same time asRigor Mortis Sets In was released, creating a huge market for 1950s nostalgia, Entwistle's timing was uncannily prescient. In Entwistle's original material for the album, light whimsy prevailed over the darker (and more creative) vein ofSmash Your Head Against the Wall andWhistle Rymes. The album was completed in less than three weeks, ultimately costing $10,000 in studio time and $4,000 on liquor bills.[25]
Rigor Mortis Sets In had a rough launch due to its title and cover art.BBC Radio refused to play the album and banned it, ironically in part due to the influence ofdisc jockey (DJ)Jimmy Savile who had just suffered a death in his family. The album's US debut was problematic forMCA Records (Track's new American distributor), who insisted on appending the artist's name to the title, out of concern that the album's sales would be weak without the Entwistle name in the title. It peaked at No. 174 on the USBillboard 200.
In February 1975, Entwistle released his fourth solo studio albumMad Dog. It was his last solo studio album for six years, and the debut and sole studio album by his band John Entwistle's Ox.Mad Dog didn't generate much interest, either in sales or among fans, in what sounded like and is often referred as to by fans as "the son ofRigor Mortis".
The song "Cell Number 7", (which is a close relation to the Who's "Long Live Rock") detailed the Who's then recent brush with Canadian justice in 1974 after a hotel wrecking spree inMontreal while on their Quadrophenia tour.[26]
In November 1981, Entwistle released his fifth solo studio albumToo Late the Hero. This was his only solo studio album of the 1980s and his last album to chart. The album peaked at No. 71 on the USBillboard 200, making it his best-selling album and his only album to reach the top 100.
"Talk Dirty" was the first single released from the album and it received some airplay in the US onalbum-oriented rock radio, peaking at No. 41 on the USMainstream Rock Tracks chart. "Too Late the Hero" was the second single to be released from the album and it would be his only single to chart on theUK singles chart, peaking at No. 76. It also peaked at No. 101 on the USBillboard Bubbling Under Hot 100 chart, making it his best-selling single all round. "Too Late the Hero" was the only single from the album that had amusic video filmed for it.
Entwistle co-produced the album with Dave "Cyrano" Langston, his first work with Langston since his debut studio albumSmash Your Head Against the Wall (1971). It was recorded as a core trio of musicians that were Entwistle on bass guitar withJoe Walsh of theEagles providing all guitar work and Walsh's formerBarnstorm bandmateJoe Vitale on drums, with all three playing keyboards.Billy Nicholls also sang backing vocals on most of the tracks.
In 1984, he became the first artist besidesArlen Roth to record an instructional video for Roth's company Hot Licks Video.[citation needed]
The Rock recorded by the band of the same name, and later credited to Entwistle solo was recorded over a period of eighteen months between 1985 and 1986 at Entwistle's Hammerhead Studios inGloucestershire. It was originally planned for release byWEA in 1986 but it was not officially released until ten years later. The album has been released in four different editions between 1996 and 2005, each time with different artwork.
The Rock was Entwistle's only studio album in which he did not sing lead or backing vocals on any tracks, a role performed instead by the American-born CanadianHenry Small, formerly of the rock bandPrism.
The Who was preoccupied with recordingThe Who by Numbers during the spring of 1975 and did not do any touring for most of the year, so Entwistle spent the summer performing solo concerts. He also fronted the John Entwistle Band with band mate and business partner Steve Luongo on US club tours during the 1990s, and appeared withRingo Starr & His All-Starr Band in 1995. A talented visual artist, Entwistle held regular exhibitions of his paintings, with many of them featuring the Who.[2]
In 1990, Entwistle toured withthe Best, a short-livedsupergroup which included keyboardistKeith Emerson ofEmerson, Lake & Palmer (ELP), guitaristsJoe Walsh of theEagles,Jeff "Skunk" Baxter ofSteely Dan andthe Doobie Brothers, and session drummerSimon Phillips. Towards the end of his career, he formed the John Entwistle Band with longtime friend, drummerSteve Luongo, and guitarist Mark Hitt, both formerly of Rat Race Choir. This evolved into the John Entwistle Band, with Godfrey Townsend replacing Mark Hitt on guitar and joiningharmony vocals. In 1996, the band went on the "Left for Dead" tour with Alan St. Jon joining on keyboards. After Entwistle toured with the Who forQuadrophenia in 1996–97, the John Entwistle Band set off on the "Left for Dead – the Sequel" tour in late 1998, now with Gordon Cotten on keyboards. After this second venture, the band released an album of highlights from the tour, titledLeft for Live and a studio albumMusic from Van-Pires in 2000. The album featured lostdemos of Who drummer Keith Moon together with newly recorded parts by the band.[27]
In 1995, Entwistle also toured and recorded withRingo Starr in one of the incarnations of Starr'sAll-Starr Band. This one also featuredBilly Preston,Randy Bachman ofthe Guess Who, andMark Farner ofGrand Funk Railroad. In this ensemble, he played and sang "Boris the Spider" as his Who showpiece, along with "My Wife". Toward the end of his career he used a Status Graphite Buzzard Bass, which he had designed. From 1999 to early 2002, he played as part of the Who. Entwistle also played atWoodstock '99 inRome, New York, along withMickey Hart of theGrateful Dead, being the only performers there to have taken the stage at the original Woodstock. As a side project, he played the bass guitar in acountry rock studio album project of original songs called the Pioneers, with Mickey Wynne on lead guitar, Ron Magness on rhythm guitar and keyboards, Roy Michaels, Andre Beeka on vocals, and John Delgado playing drums. The album was released byVoiceprint Records. Shortly before his death, Entwistle had agreed to play some US dates with the band includingNashville'sGrand Ole Opry, following his final upcoming tour with the Who.
In 2001, he played inAlan Parsons'Beatles tribute showA Walk Down Abbey Road. The show also featuredAnn Wilson ofHeart,Todd Rundgren,David Pack ofAmbrosia, Godfrey Townsend,Steve Luongo andJohn Beck ofIt Bites. That year he also played with the Who atThe Concert for New York City. He also joined forces again with the John Entwistle Band for an 8-gig tour. This time Chris Clark played keyboards. From January–February 2002, Entwistle played his last concerts with the Who in a handful of dates in England, the last being on 8 February at theRoyal Albert Hall inSouth Kensington, London. In late 2002, an expanded 2-CDLeft for Live Deluxe was released, highlighting the John Entwistle Band's performances.
Between 1996 and 2002, Entwistle attended dozens of art openings in his honour. He chatted with each collector, personalising their art with a quote and a sketch of "Boris". In early 2002, Entwistle finished what was his last drawing. "Eyes Wide Shut" represented a new style for Entwistle. FeaturingJimi Hendrix, Pete Townshend,Jimmy Page ofLed Zeppelin andEric Clapton, Entwistle's style had evolved from simple line drawings andcaricatures to a more lifelike representation of his subjects. He was more confident and relaxed with his art and ready to share that with his collectors.[2]
Entwistle wrote this on one of his pictures:
Now ... ! I'm still the bass guitarist. If you're reading this bio at a show – don't forget to wave – I'm the one on the left. If you're reading this at an art show – Help support a starving Artist BUY SOMETHING![2]
In 1967, Entwistle married his childhood sweetheart, Alison Wise.[28] He bought a largesemi-detached home inStanmore, northwest London, filling it with all sorts of extraordinary artefacts, ranging fromsuits of armour to atarantula. His eccentricity and taste for the bizarre was to remain with him throughout his life, and when he finally moved out of the city in 1978, toStow-on-the-Wold inGloucestershire, his 17-bedroomVictorian manor,Quarwood, resembled a museum. It also housed one of the largest guitar collections belonging to any rock musician.[2]
Entwistle and Wise had a son, Christopher, in 1972.[1] The marriage ended in divorce[29] and Entwistle later married Maxene Harlow.[30] At the time of his death, his long-term partner was Lisa Pritchett-Johnson.[31]
Entwistle died in Room 658 at theHard Rock Hotel and Casino inParadise, Nevada, on 27 June 2002, one day before the scheduled first show of the Who's 2002 United States tour. He was 57 years old. Entwistle had gone to bed that night with Alycen Rowse, a localstripper andgroupie, who awoke the next morning to find Entwistle cold and unresponsive.[32][33] TheClark County medical examiner determined that his death was due to a heart attack induced by an undetermined amount ofcocaine. Entwistle already had severecardiovascular disease and usually smoked 20cigarettes a day.[34]
Entwistle had undergone a medical examination for insurance purposes before the Who's 2002 tour started. The exam revealed highblood pressure and highcholesterol. Entwistle's authorised biographer Paul Rees has suggested that a more detailed physical examination would have revealed thatthree of his arteries were blocked and necessitated surgery.[35]
His funeral was held atSt Edward's Church inStow-on-the-Wold, Gloucestershire, England, on 10 July 2002.[19] His body was cremated and his ashes were buried privately in the grounds of his mansion,Quarwood. A memorial service was held on 24 October atSt Martin-in-the-Fields,Trafalgar Square in theCity of Westminster, London. Long time friend and band mateSteve Luongo was invited by the Who and Entwistle's family to deliver theeulogy.[citation needed]
Entwistle's huge collection of guitars and basses was auctioned atSotheby's in London by his son, Christopher, to meet anticipatedtaxes on his father'sestate.
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On Pete Townshend's website, Townshend and Roger Daltrey published a tribute, saying, "The Ox has left the building—we've lost another great friend. Thanks for your support and love. Pete and Roger."[14]
Entwistle's mansion,Quarwood, and some of his personal effects were later sold off to meet the demands of theInland Revenue; he had worked for the agency from 1962 to 1963 as a tax officer before being demoted to filing clerk, prior to joining the Who.
One aspect of Entwistle's life which emerged after his death came as a surprise even to those closest to him, including the members of the Who. "It wasn't until the day of his funeral that I discovered that he'd spent most of his life as aFreemason", said Townshend.[36]
The Welsh bassistPino Palladino, who had previously played on several of Townshend's solo studio albums, took over for Entwistle onstage when the Who resumed their postponed US tour on 1 July 2002 at theHollywood Bowl.[37] Townshend and Daltrey spoke at length about their reaction to Entwistle's death. Some of their comments can be found onThe Who Live in BostonDVD.
On the opening night of theirVapor Trails tour, which began inHartford, Connecticut on 28 June 2002 (the night after Entwistle's death),Geddy Lee ofRush dedicated the band's performance of the song "Between Sun and Moon" to Entwistle.[38]
Pearl Jam's seventh studio albumRiot Act, released in November 2002, was dedicated to Entwistle, among others.[39]
Oasis played a cover version of "My Generation" during theirSummer 2002 European Tour as a tribute to Entwistle.[40]Beady Eye's single "The Beat Goes On", from their debut studio albumDifferent Gear, Still Speeding (2011), contains a reference to Entwistle and bandmate Keith Moon, with the lyric: "The Ox and Moon were counting me in, I had to give in".
In some concerts of theRed Hot Chili Peppers'By the Way Tour, such as the gigat Slane Castle in 2003,Flea got on stagewearing a version of the skeleton suit Entwistle wore during the Who's 1970 tour, as a tribute.[41]
Entwistle's playing technique incorporated fingerstyle,plectrum,[42]tapping, and the use ofharmonics.[43] He changed his style between songs and even during songs to alter the sound he produced. His fingering technique involved plucking strings very forcefully to produce atrebly,twangy sound. He changed his thumb position frompick-up to the E string and occasionally even positioned his thumb near the pick-up. His plectrum technique involved holding the plectrum between his thumb and forefinger, with the rest of his fingers outstretched for balance.
The Who's studio recordings seldom did justice to Entwistle's playing, in part because he was better heard in concert,[44] where he and Pete Townshend frequently exchanged roles, with Entwistle providing rapidmelodic lines and Townshend anchoring the song with rhythmic chord work. At the same time, Townshend noted that Entwistle provided the true rhythmic timekeeping in the band, while Keith Moon, with his flourishes around the kit, was more like a keyboardist. In 1989, Entwistle pointed out that, by modern standards, "the Who haven't got a proper bass player."[45]
Entwistle also developed what he called a "typewriter" approach to playing the bass guitar.[46] It involved positioning his right hand over the strings so all four fingers could be used to tap percussively on the strings, causing them to strike the fretboard with a distinctive twangy sound. This gave him the ability to play three or four strings at once, or to use several fingers on a single string. It allowed him to create passages that were both percussive and melodic. This method should not be confused withtapping orslapping, and in fact predates these techniques. Modern players such asRyan Martinie of theheavy metal bandMudvayne have used similar techniques. Entwistle can be seen using this technique inMike Gordon's documentary film,Rising Low (2002). Notable in his left-hand technique was his use of slides, positioning his left hand foroctaves, and his use of thepentatonic when playing with the Who.
Entwistle was notorious for the extremely high volume at which he played bass guitar, going so far as to rig pick-ups to each string on his instruments. This led to him developinghearing loss,[47] similar to Townshend. Although not as public about his problems as Townshend, he reputedly had to rely onlip reading to understand speech in his later years.Randy Bachman ofBachman–Turner Overdrive claimed that towards the end of his life, Entwistle mostly played by feeling the rush of air from his giant amp stacks.[48] Entwistle blamed his hearing loss on usingheadphones.[49]
Entwistle identified his influences as a combination of his school training on French horn, trumpet, and piano (giving his fingers strength and dexterity). Musicians who influenced him included rock and roll guitaristDuane Eddy,[50] and Americansoul andR&B bassists such asJames Jamerson.[51] In turn, Entwistle has been a considerable influence on the playing styles and sounds used by generations of bassists that have followed him, includingTom Hamilton ofAerosmith,[52]Brian Gibson ofLightning Bolt,[53]Geezer Butler ofBlack Sabbath,[54]Krist Novoselic ofNirvana,[55]Geddy Lee ofRush,[56]Billy Sheehan,[57]Victor Wooten,[58]Tom Petersson ofCheap Trick,[59]John Myung ofDream Theater[60] andChris Squire ofYes.[61]
Entwistle continues to top 'best ever bass player' polls in musicians' magazines. In 2000,Guitar magazine named him "Bassist of the Millennium" in a readers' poll.[62]J. D. Considine ranked Entwistle No. 9 on his list of "Top 50 Bass Players".[63] He was named the second best rock bassist onCreem's 1974 Reader Poll Results.[64] In 2011, aRolling Stone reader poll selected him as the No. 1 rock bassist of all time.[3]
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Entwistle collaborated with bass guitar manufacturers such asAlembic,Warwick, and Status Graphite.[65][66] His bass solo on the "My Generation" single was aFender Jazz Bass[67] with stock tapewound strings.[68]
Entwistle's collection of guitars and basses was auctioned atSotheby's in May 2003.[69]
Solo studio albums
with the Rock
with the John Entwistle Band
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