The most original ock 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 ock 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 lues, R&B, funk, and mainstream ock 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 hrash metal band), and appeared on the group's lone album, The Sane Asylum, on Combat Records.