Q: You were responsible for many musicians in the later 60s starting to accept the bass in a new way, compared to what you were saying about "lumbered" with it around 1960.

McCartney: It became a bit more skillful, yeah. I wouldn't personally credit myself, but thanks for that. But part of it, I think, [Motown session bassist] James Jamerson, him and me, I'd share the credit there. I was nicking a lot off him. [Snip of comments on McCarrtney's father's influence.] Mainly as time went on it was James Jamerson -- who became just my hero really. I didn't actually know his name until quite recently. James was very melodic and that got me more interested.

Actually he and Brian Wilson were my two biggest influences: James because he was so good and melodic, Brian because he went to very unusual places. Brian would use, if you were playing in C, he'd stay on the G a lot just to hold it all back, and I realized the power you had within the band.

[End of interview excerpt.]

McCartney doesn't specify which supposed Brian Wilson basslines he refers to. If he's talking about the ones from the Beach Boys' Pet Sounds, the bassist was actually Carol Kaye.

In article <63398a47-d7cf-46a4-8039-4a696c45abb9n@googlegroups.com>,
Norbert K <norbertkosky69@gmail.com> wrote:

> Actually he and Brian Wilson were my two biggest influences: James because he
> was so good and melodic, Brian because he went to very unusual places. Brian
> would use, if you were playing in C, he'd stay on the G a lot just to hold it
> all back, and I realized the power you had within the band.
>
> [End of interview excerpt.]
>
> McCartney doesn't specify which supposed Brian Wilson basslines he refers to.
> If he's talking about the ones from the Beach Boys' Pet Sounds, the bassist
> was actually Carol Kaye.

Yeah Brian had become more interested in production by Pet Sounds,
driving a lot of the session musicians crazy with his eccentricities.