James LoMenzo of Megadeth: 10 Albums That Changed My Life

Feature Photo: courtesy of CTK Enterprises.

You’d be hard-pressed to find someone more capable of holding down the low end with rock an metal music than Brooklyn native James LoMenzo. As the bassist of the underrated glam metal quartet White Lion, LoMenzo set the standard for bassists in an era when looks often triumphed over musicianship. Later, LoMenzo lent a hand to Black Label Society, Ozzy Osbourne, David Lee Roth, and Slash’s Snakepit, to name a few.

Of course, Megadeth fans have come to know and love LoMenzo, as he laid down masterful grooves across records like United Abominations (2007) and Endgame (2009) before hitting the road with Fogerty, aiding with Sweet Lynch. Thankfully, LoMenzo returned to the Megadeth fold in August of 2021 and remains, forming one of the fiercest rhythm sections in metal alongside drummer Dirk Verbeuren.

With a catalog as diverse as LoMenzo’s, it’s not surprising that his taste’s run the gamut in terms of genre, though he tells us, “I’ve always been more of a singles guy, but there are a few albums that have reached ‘mecca’ status for me,” before settling in with ClassicRockHistory.com to reveal, “In no particular order,” the ten albums that changed his life.

Quadrophenia – The Who (1973)

Quadrophenia changed the way I approached rock bass guitar. I discovered this album at a pretty early age at a particularly active phase of my bass playing trajectory. I was maybe about fifteen or sixteen. Until this album, I wasn’t really tapped into what the great John Entwistle was up to.

I knew I loved the exuberance, power, and pent-up angst of The Who’s music as a group, but on this album, more than their previous ones, I learned about the subtle and not-so-subtle ways the bass could contribute to orchestrating music. To me, the album is their most orchestral approach, and John’s bass serves as both anchor and, at times, leading voice.

Sgt. Pepper’s Lonely Hearts Club Band – The Beatles (1967)

This quintessential album was so many things. The journey and tight-knit juxtaposition of “Sgt. Peppers’” band alongside the very real Beatles was a revelatory experience. At the time, there really was absolutely nothing you could compare it to.

It wasn’t just the incredibly melodic counterpoint of Paul McCartney’s innovative bass work that kept my attention but the journey of four iconic musicians at their peak that really defined what albums would have to become going forward. The packaging, the coherence of design—combining the crazy vibrant album art and lyrics, it was and maybe still is the total experience!

School Days – Stanley Clarke (1976)

Stanley Clarke really blew the doors off for me on School Days. I found his wide musicality and amazing veracity a milestone. His amazing speed and granite-like attack were so exciting to me at the point where I was getting good as a gigging bassist. His sound and style showed me another possibility, an approach that I could adopt and incorporate. My interpretation was that it was more than just slapping and plucking; my God, it was high-velocity rock ‘n’ roll disguised as jazz. I’m pretty sure I went right out and bought my first Alembic bass not too long after that!

Wired – Jeff Beck (1976)

Jeff Beck has always been one of my favorite guitar players, as much for his untethered yet controlled playing style as for his ability to surround himself with worthy musicians—players whom he gave charge to shine and to set him up. Among an amazing cast of characters, which includes Max Middleton, Jan Hammer, and Narada Michael Walden, there was a bassist who became a revelation to me, Wilbur Bascom.

You can’t miss him on this album; he’s right up front, along with everyone else! Wired is remarkable, vibrant, musical, and, at times, an untethered album. This one left a huge mark on my musical journey. I’d be remiss if I didn’t mention the album before this one, Blow by Blow. The great Phil Chen, who I was fortunate enough to get to know, was, of course, another Beck alumni, and his Bass on that album is seminal!

Closer to Home – Grand Funk Railroad (1970)

Another album that put me in touch with my love of the three-piece rock band genre. Mel Schacher was the very capable bassist alongside the soulful Mark Farner and meat-and-potatoes rock drumming of second vocalist Don Brewer. There are only eight songs on this record, but again, it’s an ear-opener for a young guy who’s just started his first band. Ambitiously, my band of twelve-year-olds jumped all in to learn Closer to Home.

It was incredibly eye-opening to move the turntable needle through the records grooves to try to learn and try to assimilate Mel’s agile style. I think I got pretty darn close. The tracks through this album were just full of creative bass counterpoint. I would never have been able to jump into a three-piece power trio had I not experienced this album at such an early age.

Moving Pictures – Rush (1981)

This was the album that helped me embrace and see how effectively a bassist could combine and embody fusion, rock, and metal into a fluid style. The inimitable Geddy Lee carved out a path which was unique. Geddy’s approach on Moving Pictures took turns being a support instrument and a lead instrument—finding places and rhythmic flourishes that created orchestration and weight to the album while all the while, holding his own with two other powerhouse musicians.

Goodbye Yellow Brick Road – Elton John (1973)

For me, Dee Murray was the quintessential singer/songwriter’s bassist. I was already aware of him from Elton John’s previous albums. Songs like “Rocket Man” and “Country Comfort” were already an encyclopedia introduction of Dee’s grasp of how to build and orchestrate and even, at times, overplay a great song. When Goodbye Yellow Brick Road came out, this was Dee at his most animated and refined.

I still marvel at how much Dee’s bass literally drives the opener, “Funeral for A Friend/Love Lies Bleeding.” Obviously influenced by Chris Squire on this particular track, Dee takes an amazing, animated, and decidedly forward-leaning approach. The bass, in my mind, leads this track with a heavier intent than the guitars, which was a revelation to me.

The Last in Line – Dio (1984)

Jimmy Bain was not only one of the kindest people I’ve ever had the pleasure to meet but another bassist whose approach was more aggressive and driving than it probably needed. Paired and in contrast with Vinnie Appice’s exciting “devil-may-care” / “this just occurred to me” approach, Jimmy’s was both solid, aggressive, and in context on the title track, The Last in Line, EPIC!

Close to the Edge – Yes (1972)

I was already pretty deep into Yes’ Fragile, as were most of my fellow bassists back in the ’70s when Close to the Edge came out. It was the next revelation into what an amazing bassist Chris Squire was. This was a sonic pallet that I’d never thought possible, a melodic approach with a seemingly dichotic percussive tonality. The three-octave leaps throughout the verses alone are worth the price of admission!

Kind of Blue – Miles Davis (1959)

Somewhere in the late ’80s, I was really getting burned out on guitar-driven music. White Lion was on tour, and I was in dire need of a sonic adjustment, especially when I’d retire to my hotel room after a loud, excessive show. On a day off, I went to a record/CD retailer and headed straight to the jazz section; I saw the section for Miles Davis.

I remembered seeing Miles Davis a few times on TV. I was always enthralled with his playing when I’d get to see him, so it was time to go on the deep dive and start with what I’d known to be the quintessential Miles Album, Kind of Blue. It’s still one of my favorite albums of all time! It’s Miles Davis; what more is there to say?

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