Buckethead is one of the most bizarre and enigmatic figures in American underground and experimental music since Parliament-Funkadelic birthed their bevy of cosmic characters in the mid-'70s. An accomplished multi-instrumentalist best known for his virtuosic command of the electric guitar, Buckethead is one of the instrument's most recognizable contemporary innovators, his rapid-fire riffing, near-robotic fretwork, and idiosyncratic lead lines combining elements of Yngwie Malmsteen, Adrian Belew, Slayer's Kerry King, P-Funk's Eddie Hazel, and avant-improv artist John Zorn's Scud-attack sax abuse.

Buckethead is one of the most bizarre and enigmatic figures in American underground and experimental music since Parliament-Funkadelic birthed their bevy of cosmic characters in the mid-'70s. An accomplished multi-instrumentalist best known for his virtuosic command of the electric guitar, Buckethead is one of the instrument's most recognizable contemporary innovators, his rapid-fire riffing, near-robotic fretwork, and idiosyncratic lead lines combining elements of Yngwie Malmsteen, Adrian Belew, Slayer's Kerry King, P-Funk's Eddie Hazel, and avant-improv artist John Zorn's Scud-attack sax abuse. His first group, the San Francisco-based metal-funk combine the Deli Creeps, were a regional success, but disbanded before they could release anything. Buckethead's solo career has been more productive, thanks mostly to the motivation of Zorn and Bill Laswell, the latter of whom Buckethead has also recorded and toured with in Praxis. Laswell has also produced a number of Buckethead's solo albums (including Dreamatorium and Day of the Robot) and included him on more than a dozen one-off recordings with the likes of Hakim Bey, Bootsy Collins, Anton Fier, Jonas Hellborg, and Bernie Worrell. In addition to releases including 1998's Colma, Buckethead has also contributed soundtrack material to such films as Last Action Hero and Street Fighter. Buckethead returned in 1999 with Monsters and Robots, after which he joined the short-lived reformation of Guns N' Roses. A steady stream of releases followed into the 21st century ranging from the contemplative Electric Tears to more electronica/rock hybrid, and collaborations with San Francisco's underground hip-hop scene. In the following decade, he averaged a few releases a year, teaming up with dozens of artists, including Les Claypool, Iggy Pop, and Mike Patton, and in 2008, he collaborated with actor/musician Viggo Mortenson for Pandemonium from American. ~ Sean Cooper, All Music Guide

The most original rock bassist to come along in the '90s was unquestionably Primus' Les Claypool. With his oddball sense of humor and funky playing, Claypool took his varied musical influences and created an invigorating and completely inventive style. The Les Claypool story begins on September 29, 1963, when he was born in Richmond, CA. As a teenager, Claypool met fellow student Kirk Hammett (yes, the Kirk Hammett of Metallica fame), who turned him on to such rock acts as Jimi Hendrix, Cream, and Led Zeppelin. It was around this time that Claypool took up the bass, influenced by the likes of Rush's Geddy Lee, Yes' Chris Squire, and Paul McCartney.

The most original rock bassist to come along in the '90s was unquestionably Primus' Les Claypool. With his oddball sense of humor and funky playing, Claypool took his varied musical influences and created an invigorating and completely inventive style. The Les Claypool story begins on September 29, 1963, when he was born in Richmond, CA. As a teenager, Claypool met fellow student Kirk Hammett (yes, the Kirk Hammett of Metallica fame), who turned him on to such rock acts as Jimi Hendrix, Cream, and Led Zeppelin. It was around this time that Claypool took up the bass, influenced by the likes of Rush's Geddy Lee, Yes' Chris Squire, and Paul McCartney. Although Hammett asked Claypool to join a band he was in, he opted for another group in his high school, progressive metallists Blind Illusion, while broadening his musical horizons by playing in jazz and swing bands. Upon discovering such fusion and funk bass greats as Stanley Clarke and Larry Graham around this time, Claypool began incorporating "slapping" into his playing technique.

After graduation, Claypool played in a local cover band, the Tommy Crank Band, which specialized in blues, R&B, funk, and mainstream rock hits. Playing several sets a night almost every night of the week, he sharpened up his improv skills, and after a short while, there wasn't a musical style that he couldn't pull off convincingly. It was while with Tommy Crank that Claypool bought his first Carl Thompson piccolo bass (after seeing Stanley Clarke play one), an instrument that would become his trademark. It was around this time (early to mid-'80s) that Claypool began demoing his own original compositions, which would become the impetus for Primus. Originally called Primate, Primus consisted of guitarist Todd Huth and drummer Jay Lane in addition to Claypool, who also contributed vocals (in a strange sing-speak style, almost akin to a narrator) in addition to bass. Although the trio instantly created an underground following in the San Francisco area, Primus was put on hold when Huth left and Claypool returned to Blind Illusion (whose sound now resembled a thrash metal band), and appeared on the group's lone album, The Sane Asylum, on Combat Records.

His return to Blind Illusion didn't last long, but he met a kindred musical spirit in BI's guitarist, Larry LaLonde. By 1989, a new Primus lineup was formed -- Claypool, LaLonde, and new drummer Tim "Herb" Alexander -- and not long afterward, their first album was issued, the live set Suck on This. The album caused such a buzz with college radio that the independent label Caroline signed the group, resulting in the reissue of their debut and their sophomore effort, 1990's Frizzle Fry, while the trio toured with such bands as Jane's Addiction and 24-7 Spyz. 1991 proved to be an even better year for the group, as their major-label debut (for Interscope), Sailing the Seas of Cheese, reached gold status a year after its release, as the trio opened for such varied artists as Public Enemy, Anthrax, U2, Fishbone, and Rush.

Primus scored a surprise Top Ten hit with 1993's Pork Soda (and subsequent headlining spot on that year's Lollapalooza festival tour), solidifying the band's status as quirk rock's undisputed kings, as more hit releases followed throughout the decade and new millennium: Tales from the Punchbowl, The Brown Album, Rhinoplasty, and Antipop, as well as the theme song to TV's South Park (Claypool also tried his hand at directing the band's videos). In addition to his Primus duties, Claypool has always had time for side projects -- Sausage (a reunion of the original Primus lineup), Les Claypool and the Holy Mackerel (Highball with the Devil), the Frog Brigade (Live Frogs, Purple Onion), and Oysterhead -- as well as guesting on albums by other artists (Buckethead, Jerry Cantrell, Victor, Limp Bizkit, Tom Waits, Rob Wasserman). He released Of Whales and Woe in 2006, the first project solely credited to the man himself. ~ Greg Prato, All Music Guide

Raised in Plainfield, NJ, Bernie Worrell was a classically trained pianist at three years old. Throughout his childhood he played with symphonies and orchestras, and even wrote his own concerto at the age of eight. Slowly, he listened to the radio and discovered sounds other than classical, and when he went to college, he played with a number of bar bands, including the Tavares (who were known as Chubby & the Turnpikes back then). It was also around this time that Worrell met George Clinton, who was the vocalist for a Motown-influenced group called the Parliaments. The Parliaments soon split up and moved to Detroit, where Clinton re-formed them into a new group, called Parliament.

Raised in Plainfield, NJ, Bernie Worrell was a classically trained pianist at three years old. Throughout his childhood he played with symphonies and orchestras, and even wrote his own concerto at the age of eight. Slowly, he listened to the radio and discovered sounds other than classical, and when he went to college, he played with a number of bar bands, including the Tavares (who were known as Chubby & the Turnpikes back then). It was also around this time that Worrell met George Clinton, who was the vocalist for a Motown-influenced group called the Parliaments. The Parliaments soon split up and moved to Detroit, where Clinton re-formed them into a new group, called Parliament. Clinton then formed another side band, called Funkadelic, several of whose members had been in Parliament but were now performing under the new name due to contractual glitches. Worrell joined Funkadelic in 1970, beginning with their album Free Your Mind and Your Ass Will Follow. He was an essential part of the P-Funk mob and continued to play with them right up until the early '80s. He then joined the Talking Heads as a session man and went on tour with them throughout the '80s, basically working with David Byrne and the band right up to their split in early 1992. Besides his solo career, Worrell continues to work with members of the P-Funk, including Bootsy Collins. His work on such songs as "Flashlight," "(Not Just) Knee Deep," and "Cosmic Slop" influenced not only other R&B/soul artists but also many rap groups, who continue to sample his work in their own songs. ~ John Book, All Music Guide