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Michael Rhodes

Michael Rhodes (September 16, 1953 – March 4, 2023) was an best known for his prolific session and touring work across , blues, and pop genres, establishing himself as one of Nashville's most in-demand studio musicians over a career spanning more than four decades. Born in , Rhodes taught himself to play guitar at age 11 and began performing professionally as a teenager in local bands influenced by Cajun, blues, and surf rock scenes in , , and . In 1977, he relocated to Nashville, where he initially joined the band and started recording demos for Tree Publishing Company, quickly transitioning to bass and building a reputation as a versatile "first-call" player for his intuitive musicality, empathy in ensemble settings, and mastery of both electric and upright bass. Over his career, Rhodes contributed to thousands of recordings, including landmark albums such as Rosanne Cash's King's Record Shop (1987), Rodney Crowell's (1988)—which yielded five consecutive No. 1 country singles—and collaborative projects like , , and Ray Price's (2007). Rhodes collaborated with an extensive array of artists, including , , , , , the Dixie Chicks, , , , , and , while touring with acts like Gill in the 1980s–1990s and Bonamassa in his later years. He was a founding member of influential groups such as (with and others), The Players, The Vinyl Kings, and The World Famous Headliners, and performed at high-profile events like Eric Clapton's . His contributions earned him multiple for Specialty Instrumentalist, the 2017 Nashville Cat honor from the Country Music Hall of Fame, and induction into the Musicians Hall of Fame in 2019. Rhodes passed away at his home in Nashville from at the age of 69, leaving a legacy as a "bass colossus" who anchored countless hits and mentored generations of musicians with his generous spirit and innovative style.

Early Life

Childhood and Musical Beginnings

Michael Rhodes was born on September 16, 1953, in West Monroe, Louisiana. Growing up in the region, he developed an early interest in music despite no strong familial tradition in the field. At the age of 11, Rhodes taught himself to play the guitar using a inexpensive acoustic instrument, initially focusing on the lower strings that mimicked bass lines. By age 13, he switched to bass guitar, inspired by hearing it in performances by local bands around Monroe. His early musical development was shaped by rock and country broadcasts on the radio, with particular admiration for The Beatles and Louisiana-based artists blending Cajun, blues, and swampy rhythms. Rhodes began performing publicly during his high school years, joining garage bands in the Monroe area where he honed his skills on . These informal groups provided his initial outlet for experimentation, drawing from the diverse sounds of his Southern upbringing. This foundation in self-directed learning and local scenes laid the groundwork for his later relocation to Nashville in 1977, which marked a significant step toward professional opportunities.

Relocation and Formative Experiences

Following his graduation from West Monroe High School in 1971, Michael Rhodes relocated to , in the early , drawn by the vibrant local rock scene during the rise of the outlaw country movement. There, he immersed himself in performances with various local bands, building foundational connections in the music industry while honing his self-taught bass skills that originated from his childhood switch from guitar. This period marked his transition from teenage gigs in to more structured professional opportunities, where he began experimenting with a versatile bass tone influenced by the diverse sounds of rock and emerging country fusion. By the mid-1970s, Rhodes moved to , seeking greater studio exposure amid the city's rich musical heritage. He secured early professional gigs in local studios, contributing to sessions with up-and-coming acts, including work alongside Alan Rich, son of legend , which exposed him to the technical demands of recording environments. These experiences in further refined his adaptable playing style, blending funk, rock, and Southern influences into a signature approach that emphasized groove and precision. Throughout these relocations, Rhodes formed and joined early bands in Austin and , such as informal groups that allowed him to develop his versatile bass tone through live performances and collaborative experimentation. As a young musician in his early twenties, he navigated significant challenges, including financial instability from inconsistent gig income and the steep of studio , such as adapting to quick session paces and expectations. These formative hurdles, common in the transient Southern music circuits, ultimately shaped his resilience and professional demeanor.

Professional Career

Early Session Work and Band Involvement

Michael Rhodes arrived in Nashville in 1977. There, he quickly secured his first steady gig as the bassist for the local rock band , alongside Ricky Rector and Danny Rhodes, blending his funk-influenced style with the city's burgeoning music scene. Rhodes' entry into session work began shortly after, as he joined Tree Publishing's house demo band in the late 1970s, providing bass lines for songs penned by prominent writers like , , and . This role exposed him to Nashville's songwriting ecosystem and built his reputation for reliability and musical versatility. By the early 1980s, he expanded into freelance sessions at key studios, including Sound Emporium, where his precise playing on demos and early recordings helped establish him as a dependable collaborator amid the city's growing demand for skilled musicians. In the mid-1980s, Rhodes deepened his band involvement by co-founding The Cicadas with , , and Vince Santoro, a country-rock outfit that drew from diverse influences like New Orleans rhythms and . The group, which had been jamming together since around 1984, contributed to Crowell's backing band and performed live tours across the U.S., showcasing Rhodes' groove-oriented bass work in a live setting. Their self-titled debut album, released in 1997 on Sugar Hill Records, captured the band's polished sound but reflected years of prior collaboration that solidified Rhodes' transition from touring to session prominence. By the mid-1980s, Rhodes had evolved from a touring to an in-demand session player, leveraging his early band experiences and demo work to secure spots on major recordings, such as Rosanne Cash's King's (1987) and Rodney Crowell's (1988). This shift marked his integration into Nashville's professional core, where his adaptability across genres earned him steady freelance opportunities and set the stage for his later dominance in the industry.

Rise as a Nashville Session Musician

In the late 1980s and throughout the , Michael Rhodes solidified his position as one of Nashville's premier session bassists amid the explosive growth of . Having relocated to the city in the after early band work in and , he quickly became a first-call player for major recording sessions, contributing to the sound of the era's burgeoning country scene. By the end of the decade, Rhodes had amassed credits on over 1,000 albums overall, many of which featured emerging country artists navigating the genre's commercial peak. Rhodes' signature style was characterized by melodic bass lines that seamlessly blended country roots with rock-infused precision and soulful intuition, often employing a "less is more" approach with dynamic fills and a strong pocket groove. He frequently relied on his Fender Jazz Bass for its versatile tone, allowing him to craft lines that provided both foundational support and subtle melodic counterpoints in fast-paced studio environments. This adaptability made him indispensable during daily commitments at renowned Nashville facilities like Blackbird Studio, where his consistent presence earned him respect as a reliable anchor for diverse projects. Beyond his technical contributions, Rhodes took on a role for younger bassists entering Nashville's competitive session world, generously sharing insights on achieving optimal , adapting to varied musical contexts, and maintaining professionalism under pressure. His guidance, often delivered with a calm, demeanor, helped shape the next generation of players, emphasizing the importance of listening and serving the song above all.

Key Touring and Recording Roles

In the early 2000s, Michael Rhodes expanded his session work into significant touring commitments, leveraging his reputation as a reliable Nashville to support live performances by prominent acts. He contributed bass to several albums, including Eleven (2011), providing the rhythmic foundation for her recordings during this era. These engagements highlighted his ability to translate studio precision into dynamic live environments, often performing alongside other elite Nashville players. Rhodes' recording contributions extended to high-profile projects like Keith Urban's albums, where he provided bass tracks that seamlessly blended the immediacy of live performance energy with polished studio production. On albums such as Golden Road (2002) and Be Here (2004), his playing added a warm, propulsive foundation to Urban's blend of and influences, emphasizing groove and texture in tracks that captured both raw vitality and refined detail. This approach allowed Rhodes to bridge the gap between touring spontaneity and recording control, as seen in his use of direct injection techniques combined with subtle amplification to retain organic feel amid multi-track layering. As a core member of the supergroup The Players—alongside drummer , keyboardist John Hobbs, pedal steel player Paul Franklin, and guitarist Brent Mason—Rhodes participated in both acclaimed recordings and select live performances that showcased Nashville's session elite. The group's 2004 DVD Live in Nashville captured their collaborative prowess, with Rhodes' bass locking in tight rhythms on instrumental covers and originals, drawing crowds for intimate showcases of virtuosity. These outings, often limited to special events, reinforced his status as a connective force in ensemble settings. Throughout the and into the , Rhodes adeptly adapted to the rise of workflows while prioritizing analog-inspired warmth in his bass tones, ensuring his contributions retained emotional depth in an increasingly processed landscape. He favored tube-driven amplification, such as the Ashdown CTM 300 head paired with 8x10 cabinets, to impart natural saturation and sustain, even when tracking via direct inputs in DAWs. This technique, combined with flatwound strings on his Fender Precision basses for smooth bloom, allowed him to maintain the "pocket" feel of classic recordings up to 2020, as evidenced in sessions for artists like where digital efficiency met vintage timbre.

Notable Collaborations

Work with Country and Americana Artists

Michael Rhodes was a pivotal figure in Nashville's recording scene, contributing bass lines to numerous country and Americana projects that highlighted his genre-specific techniques, such as intuitive phrasing and melodic support that enhanced emotional depth without overpowering vocals. His approach often emphasized a "less is more" philosophy, using precise note durations and authentic execution to drive rhythms or add subtle texture, as seen across his extensive session work. Throughout his career, Rhodes participated in countless recording sessions, anchoring tracks for major artists and infusing them with his versatile bass playing that bridged commercial and roots-oriented Americana sounds. For instance, he provided bass on Faith Hill's debut album Take Me as I Am (1993), where his playing supported the record's fresh sound and helped establish Hill's early career. In tracks like Toby Keith's "" (2011), Rhodes supplied the rhythmic drive essential to party anthems, employing steady, groove-oriented playing that propelled the song's lighthearted, high-energy vibe while maintaining pocket precision typical of his Nashville session style. These contributions, drawn from over two decades of prolific output, solidified Rhodes' reputation as a go-to for and Americana productions seeking both technical reliability and expressive nuance.

Contributions to Rock and Pop Projects

Michael Rhodes demonstrated remarkable versatility in his contributions to and pop projects, extending his Nashville session expertise beyond roots to infuse these genres with his signature groove and precision. On Joe Bonamassa's 2012 album , Rhodes provided the foundational bass lines that drove the blues- tracks, delivering robust, driving grooves that complemented Bonamassa's guitar work and added depth to songs like the title track. His playing emphasized steady, propulsive rhythms, enhancing the album's high-energy influences while maintaining a clean, articulate tone suited to the genre's raw edge. In the pop realm, Rhodes contributed to Elton John's 1993 album Duets, where his work supported the collaborative tracks featuring various artists, providing a solid foundation that blended pop sensibilities with his precise style. This work highlighted his ability to adapt to polished production environments, using subtle dynamics to underscore the album's star-studded appeal. Rhodes' involvement in such sessions underscored Nashville's role as a cross-genre recording hub, attracting pop artists seeking seasoned musicians. Rhodes also lent his talents to rock reunions, notably on Lynyrd Skynyrd's 2009 album , where he echoed the band's heritage through solid, groove-oriented bass parts that evoked their classic sound. His contributions on tracks like "Skynyrd " reinforced the group's enduring legacy, blending familiar riffs with contemporary energy. In these projects, Rhodes showcased adaptive techniques, such as incorporating effects pedals like volume swells and wah for added texture in pop-oriented sessions, while favoring a raw, direct tone in rock contexts to preserve the genre's gritty authenticity. This flexibility allowed him to seamlessly bridge stylistic demands across recordings.

Awards and Honors

Induction into the Musicians Hall of Fame

Michael Rhodes was inducted into the Musicians Hall of Fame on October 22, 2019, during a ceremony held at the in , as part of the ensemble known as The Players—alongside , Paul Franklin, John Hobbs, and Brent Mason—honoring his exceptional mastery as a Nashville session over decades of contributions to recordings across multiple genres. In his acceptance speech, Rhodes highlighted the collaborative nature of session work, stressing the need to adapt creatively to each song's requirements while working in harmony with other musicians, and conveyed a sense of humility regarding his role in shaping iconic tracks by artists such as , , and LeAnn Womack. The induction event doubled as a , featuring performances by inductees and guests, during which Rhodes showcased his live bass proficiency alongside fellow honorees, further demonstrating the tight-knit musicianship that defined The ' collective impact. This recognition amplified Rhodes' career visibility within the industry, prompting heightened media interest in his extensive and prompting profiles that celebrated his behind-the-scenes influence on contemporary .

Other Recognitions and Industry Impact

Rhodes earned widespread acclaim through multiple wins of the of Country 's Bass Player of the Year award, receiving the honor ten times throughout his career, with several accolades coming during the for his foundational contributions to recordings. These awards underscored his reliability and innovative approach in the studio, where he elevated tracks for artists like and . In 2015, Rhodes was honored as a Nashville Cat by the Country Music Hall of Fame and Museum, recognizing his status as one of Nashville's premier session musicians. His versatility was highlighted in industry publications, including a feature in the November 2018 issue of Bass Player magazine, where he discussed his adaptive playing style across rock, pop, and country genres. Additionally, in 2017, Bass Player ranked Rhodes on its list of the "100 Greatest Bass Players of All Time," commending his genre-spanning technique and session prowess that made him a go-to musician for diverse projects. Rhodes played a pivotal role in shaping Nashville's modern session musician collective, known as The Players—the successor to the legendary A-Team—alongside , Paul Franklin, John Hobbs, and Brent Mason, influencing studio standards through their collaborative precision and efficiency on high-profile recordings. This group's work helped define the professionalism of Nashville's recording scene in the late 20th and early 21st centuries. Complementing his Hall of Fame induction, Rhodes secured endorsements from brands like Ashdown Engineering, which recognized his long-term use of their amplifiers and cabinets as integral to his signature tone on countless sessions.

Personal Life and Death

Family and Private Interests

Michael Rhodes was married to Lindsay Fairbanks Rhodes for more than three decades, a union that provided stability amid his extensive touring and session schedule. He and his wife raised two children, son Jason Rhodes and daughter Melody Wind Rhodes, along with her sons from a previous marriage, and . In his private pursuits, Rhodes found balance through diverse interests outside music. He was an avid gardener and maintained an artsy, home filled with sculptures, , and turntables, reflecting his passion for collecting photographs and . Widely read with a tremendous personal library, he also expressed for fashion and traditional , often drawing inspiration from artists like in his downtime. These hobbies served as outlets for relaxation, complementing his professional life without drawing public attention.

Illness and Passing

In late 2022, Michael Rhodes was diagnosed with pancreatic cancer, a diagnosis that significantly impacted his health and led to a reduced workload by early 2023. Rhodes passed away on March 4, 2023, at the age of 69 in his Nashville home due to complications from the cancer. The announcement of his death elicited immediate grief from the music industry, with longtime collaborator sharing his devastation on : "Rest in Peace my friend. I can't even get my head around this right now."

Legacy

Influence on Bass Technique and Session Culture

Michael Rhodes employed a "less is more" philosophy in bass playing, particularly suited to the demands of mainstream and recordings, where he emphasized restraint to create space within arrangements and enhance the overall . This approach allowed his lines to support hybrid country-rock textures without overpowering vocals or other instruments, drawing on subtle phrasing and precise note placement to build momentum and emotional depth. For instance, his work often featured mechanically perfect eighth-note grooves that felt human and organic, integrating melodic elements like chord inversions and high-register accents only when they served the track's narrative. Rhodes' gear choices further shaped his signature tone, influencing generations of session bassists in Nashville. He favored from the early equipped with D'Addario flatwound strings, which contributed to a warm, rounded ideal for blending into dense studio mixes while maintaining clarity and sustain. Paired with amplification like the Ashdown CTM 300 tube head and 8x10 cabinets, this setup prioritized a clean, dynamic response that supported his minimalist style, becoming a for modern session tones in country and . His emphasis on tone over effects—using minimal pedals such as a volume pedal and preamp—reinforced a focus on musicality rather than flash, setting a standard for efficiency in high-pressure recording environments. Throughout his career, Rhodes mentored numerous young bassists in Nashville, imparting improvisational skills and the art of adaptive session playing that emphasized listening and serving the song above personal showcase. As a "Buddha-like figure" in the local scene, he offered philosophical guidance and practical advice to up-and-coming players, helping them navigate the collaborative demands of studio work and develop a that could stretch feels musically without excess. This influence extended to peers and successors alike, fostering a culture of humility and precision that elevated the role of the in ensemble settings. Rhodes' mastery of overdub precision played a key role in evolving Nashville's session ecosystem, where his ability to lock into tracks with impeccable timing and soulful simplicity accelerated the shift away from full live band recordings toward layered productions. By delivering bass parts that integrated seamlessly with pre-recorded elements—often using syncopated phrasing and "big, ballsy" low notes—he exemplified the technical reliability that made overdubs a staple, allowing producers greater flexibility in crafting polished hits. His death in 2023 marked the end of an era for this hands-on studio craftsmanship.

Posthumous Tributes and Memorials

In 2024, Bass Magazine published a multi-part feature titled "Held By Love: The Life and Legacy of Michael Rhodes," compiling testimonials from peers such as , , , , , and Tully Kennedy, who emphasized his kindness, mentorship, and profound impact on Nashville's music scene, including Part 3 (November 18, 2024). That same year, collaborators released archival footage and unreleased tracks featuring Rhodes, including the Vinyl Kings' album Big New Life, which incorporated his final bass recordings from sessions completed shortly before his passing. Additionally, a musical tribute video titled "Going Down" was shared online, reinterpreting a blues classic associated with Rhodes.

Discography

Albums with The Vinyl Kings

The Vinyl Kings, a Nashville-based supergroup comprising veteran session musicians including Michael Rhodes, formed in as a casual ensemble of friends playing covers for enjoyment, drawing from their shared backgrounds in rock, pop, and . The band, featuring Rhodes alongside , Harry Stinson, Josh Leo, Larry Lee, and others, evolved into an original songwriting project by the early , blending rock-country fusion with Beatles-inspired harmonies and arrangements that highlighted Rhodes' versatile bass work as the rhythmic anchor. Their output emphasized collaborative creativity, with Rhodes providing the driving low-end foundation that supported the group's melodic and harmonic explorations. The band's debut album, A Little Trip (2002, self-released on Vinyl Kings Records), showcased Rhodes on bass across all 13 tracks, delivering a collection of power pop and rock songs structured as a conceptual nod to the Beatles' evolution from early to later periods. Critics praised the album's polished production and heartfelt songwriting, noting Rhodes' contributions to tracks like "Here We Go Again" and "Mind Over Matter" for their steady, groove-oriented lines that grounded the band's intricate vocal arrangements and guitar interplay. Released to acclaim for its fun, homage-driven spirit, A Little Trip established the Vinyl Kings' sound, with Rhodes' session-honed precision enabling the seamless fusion of rock energy and country subtleties. Their follow-up, (2005, also self-released), continued the Beatlesque theme through a "time travel" narrative across 1960s and 1970s influences, where Rhodes played both electric and standup bass to enhance the album's dynamic range. On songs such as "Pray for Peace," his controlled bass lines transitioned from urban soundscapes into protest-driven grooves, while tracks like "Sycamore Bay" benefited from his melodic upright playing that evoked folk-rock warmth. Reviewers highlighted Rhodes' rhythmic foundation as key to the album's cohesive flow, allowing the supergroup's veteran talents to explore introspective and anthemic territory without losing pop accessibility. The Vinyl Kings' third album, (2024, Kool Kat Musik), marked a posthumous milestone for Rhodes, who contributed bass to several tracks recorded before his death in 2023, infusing the project with his signature blend of drive and nuance. As a founding member, Rhodes' performances on songs like the provided the emotional for the band's reflections on renewal and legacy, earning praise for maintaining the group's established sound amid lineup changes. The album received positive notices for its mature songcraft and Rhodes' enduring impact, solidifying the Vinyl Kings' reputation as a vehicle for high-caliber session musicians to channel their .

Albums with The Players and World Famous Headliners

Michael Rhodes contributed his renowned bass skills to two albums by The Players, a Nashville supergroup comprising fellow session musicians on drums, Paul Franklin on , John Hobbs on keyboards, and Brent Mason on guitar. Formed in 2002, the group emphasized tight ensemble interplay in instrumental tracks that blended , , and elements, allowing Rhodes to explore grooves outside his typical session obligations. The band's debut album, (2002), featured Rhodes' electric and upright throughout its 12 tracks, including the energetic opener "Fireworks," where his driving lines set the tone for the ensemble's dynamic sound. Rhodes' versatile playing added depth to the record's mix of originals and covers, highlighting his ability to with Mason's guitar work while incorporating subtle upright for textural variety on slower pieces. Their follow-up, High Standards (2004), continued this collaborative spirit, with Rhodes providing on all tracks and experimenting further with upright bass to evoke influences amid the group's high-energy performances. These releases served as creative outlets for the musicians, fostering a sense of camaraderie and musical exploration distinct from mainstream country productions. In 2011, Rhodes co-founded the World Famous Headliners alongside drummer , joining vocalists and songwriters Big Al Anderson, Shawn Camp, and , with Greg Morrow on drums for recordings. The band's self-titled debut album showcased Rhodes' on 13 tracks blending country-rock with -infused elements, such as the swinging rhythms on "Jukin'" and the laid-back grooves of "Heart of Gold." His contributions emphasized melodic lines that complemented the group's songwriting focus, using both electric and upright bass to enhance the album's eclectic vibe.

Selected Session Appearances

Michael Rhodes was one of Nashville's most prolific session bassists, amassing over 700 album credits across , and pop genres during his career, with a particular concentration in the and . His contributions to Shania Twain's blockbuster album (1997) showcased his versatile playing on tracks such as "Man! I Feel Like a Woman!" and "," helping define the album's crossover appeal. On Carrie Underwood's (2015), Rhodes provided bass support on several tracks, including ballads like "What I Never Knew I Always Wanted," where his subtle, emotive lines added warmth and depth to the arrangements. Rhodes' work on Lee Ann Womack's (2000) included the , a Grammy-winning hit that highlighted his ability to blend roots with inspirational phrasing. These selections represent his freelance session prowess, extending the stylistic precision he honed in group projects like The Players.

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