John Entwistle Gear Deep Dive | The Who & Warwick

Some people are born with natural musical talent and John Entwistle was one of those people. Considered by many (including us) to be one of the world’s greatest and most influential bass guitar players, Entwistle has gained recognition and respect across the globe as part of legendary rock band The Who and a pioneer of the instrument. 

Entwistle earned the nicknames ‘The Ox’ and ‘Thunderfingers’ from his peers owing to the speed at which he could move his fingers across a four-string fretboard, Entwistle’s career spanned decades, which was acknowledged when he was voted ‘Bassist of the Millennium’ in Musician magazine at the end of the 20th century.

Entwistle’s technique stretched across fingerstyle, plectrum playing, and even tapping. He opted for a sound quite unlike many bass players by focusing on pushing treble frequencies, in part due to his ability and penchant for switching between rhythm and lead lines between songs. Here’s a superb example of why John always called himself a bass guitarist, not a bassist. Added comedy factor of Meatloaf (yes, Meatloaf) clocking that it was Entwistle soloing in the song. 

John Entwistle’s Career

Surprisingly, the French Horn was Entwistle’s initial instrument of choice. However, after being introduced to rock ‘n’ roll via the music of US guitarist Duane Eddy, which featured a unique ‘twangy’ style of guitar played in a low register, he soon put down the Horn and picked up a bass guitar – albeit a home-made one. 

He played in various school bands with his friend (and future fellow The Who band member), Pete Townshend and later joined Roger Daltrey’s group, The Detours. Six months later, after he persuaded Daltrey to let Townshend join the group, The Who was formed in 1964.

Entwistle gained a reputation for being an outstanding songwriter, but it was his unique lead style of bass – which complemented Townshend’s more rhythmic playing and also kept the band locked in together – that made Entwistle utterly legendary. If anyone was in any doubt about the talent of this still, often passive figure on stage, the bass solo showcased in The Who’s third single ‘My Generation’ secured Entwistle as one of the most skilled guitarists on the planet.

John Entwistle released several solo albums throughout the 70s too, stretching his songwriting capabilities and venting frustrations that had built up with The Who.

John Entwistle’s Bass Gear

The Basses

Entwistle has been known to play quite an array of basses outside of the holy Fender duo (although he’s certainly been seen with one or two over the years). He’s been noted as playing Alembics, Gibsons, Rickebackers, Status, and more.

His penchant for making guitars in his youth led to various partnerships with guitar makers in the 70s, such as Ned Callan and Wal Basses, but it was in 1985 that Entwistle’s famous Buzzard design was created via a collaboration with his great friend (and founder and general manager of Warwick), Hans Peter Wilfer. 

The Buzzard design had various modifications after its initial creation – including the introduction of a graphite neck to accommodate Entwistle’s unique playing style – but the model became his trademark bass, forever cementing Entwistle and Warwick together in bass guitar history.

Check out this stunning example; the flamed maple top and ovangkol wings of this Infinity model make it a joy to behold.

(2004) WARWICK INFINITY Serial Number L-111158-04 Year 2004 Colour Natural Body Finish Satin Body Wood Ovangkol Wings + Flame Maple Top Neck Finish Satin Neck Wood Maple Fretboard Wenge Frets 24 Scale Length 34’ Weight 8lbs10oz/3.9kgs Electronics Active MEC Pickups MEC Single Coil + Humbucker

Facts and links about Warwick Bass Guitars

1. The Warwick Infinity model was introduced in the 1990s and made in Germany.
2. The innovative semi-hollow, chambered body, f-holes and pick up configuration of the Infinity makes it slightly lighter in weight than other guitars whilst still offering an outstanding, vintage sound.
3. See footage of Entwistle playing one of his famous bass solos at a charity gig with Meatloaf here: https://www.youtube.com/watch?v=YTXGBxF0_bA
4. Watch a Warwick Infinity Guitar being made here: https://www.youtube.com/watch?v=yIKdM-Y2bmY
5. See Tony Garnier (bass guitarist in Bob Dylan’s band) play and talk about why he loves the Warwick Infinity Bass five-string: https://www.youtube.com/watch?v=P-PC05P51_w

The Amps

Entwistle and Townshend normalised the use of Marshall amps powering speaker cabinets in music, using them relentlessly and even pushing Marshall to design newer and more powerful amplifiers to support The Who’s needs. 

Throughout the tenure of the band, both individuals continued to experiment and push the boundaries of amplification, inspiring other contemporaries to follow suit. In many ways, The Who and Entwistle are directly responsible for the classic Marshall tone that is so prolific across Rock today.

The Bass Lines

There is an incredible bass line tucked into pretty much every song released by The Who, so we’re blessed to have a wealth of quality material to pick from. The tracks chosen here exemplify what – to us – make him such a unique and revered musician. 

Won’t Get Fooled Again (1971)

An instant classic within The Who’s extensive and incredible catalogue. This is just a beautiful chorus progression from Entwistle that takes a soloist approach to quicken the pace and provide some much needed movement behind the driving guitar. 

In many ways he becomes the lead melody line in many instances throughout Won’t Get Fooled Again and is a perfect example of what made him such an integral element in The Who’s signature sound.

Baba O’Riley (1971)

Although this wouldn’t be many people’s first pick to showcase Entwistle’s bass chops, it highlights his approach to songwriting and composition with the bass as a solo instrument and as part of an ensemble. 

The tab included below shows how the primary main etude from Baba O’Riley is being consistently remixed and built upon throughout the song. Entwistle was well-known for his flowing progressions and the desire to create movement in his compositions by adding variation to core themes within each song.