Not to hijack Dante G’s thread anymore than I have, I was wondering…
The bass and drums are the theme of a song in most cases. Stand in the shadows and give the band their due. I know it doesn’t seem fair in most bar-bands. Everyone wants to be a star.
I nominate Carter Beauford on percussion.
The single greatest bass-percussion combo in history, IMO, is clear: Mike Watt (bass) and George Hurley (drums) from Minutemen (and fIREHOSE).
Ron Carter (bass) Tony Williams (drums)
Win.
Like the linked bass line thread, I’m gonna have to go with the Wright/Wrong brothers.
NOMEANSNO - Metronome. Just the brothers, focusing on rhythm.
Thank you! I was ignorant of this. I am very impressed.
OMG. that has to be the Marshall I leaned my head against during my teen-years, which is why I am deaf.
Awesome with Herbie Hancock.
Dang, you guys are going to keep me up all night listening to tunes.
I love it. 
John Entwistle and Keith Moon
For me, it’s Bonham and Jones that make Zep great.
Yes - and to be more specific : Can you see The Real Me!
Scott Rockenfield (drums) and Eddie Jackson (bass) of Queensryche.
Lotsa awesome rhythm sections around, to name a few:
(aside - at a Firehose gig Hurley and I exchanged shirts - I got his Big Black tee, and he got my yellow and white “My First Bells” tee.)
indeed
(if you’d grown up in his hood, Scabpicker, hopefully you wouldn’t have tried to sound like him, like too many bassists around here tried, unsuccessfully)
Bruford/Squire
aaaa heck Lee/Peart
Fripp/Wetton (King Crimson)
Rey Washam/David Wm. Sims (Rapeman)
scads of metal mentions
and these crazies from Japan:
Hard for me to argue with this sentiment; Watt/Hurley definitely had the biggest impact on my own approach to rock of any bass/drum combo. Though with them making up 2/3 of a trio–and Mike Watt being practically a co-frontman in both bands–they do go way beyond the traditional backline duties. Shouldn’t discount them from the conversation in any way as far as I’m concerned–nor Entwistle/Moon, who have a similar dynamic within the Who–but it’s a very different concept than having the bass and drums working in tandem to lock in the groove and drive the song. And of course, Watt/Hurley and Entwistle/Moon could both do that effectively too–it just wasn’t required of them as much in the context of their music.
My favorites not yet mentioned, all of which are more on the backline-groove, song-driving-battery tip:
Bruce Thomas/Pete Thomas (Elvis Costello and the Attractions)
Duck Dunn/Al Jackson Jr (Booker T and the MGs/Stax Records House Band)
Aston “Family Man” Barrett/Carlton Barrett (The Wailers)
Tina Weymouth/Chris Frantz (Talking Heads)
[ul]
[li] Dave Weckl and John Pattitucci[/li]Steve Gadd and Anthony Jackson
AL Foster and Marcus Miller
Lenny White and Stanley Clarke
Kermit Driscoll and Joey Baron
Phil Collins and Mike Rutcherford
Scott LaFaro and Paul Motian
[/ul]
Good enough for now.
Oh, thought of another one: Mani & Reni of the Stone Roses.
Zigaboo Modeliste and George Porter Jr.
This would never qualify as “greatest” but is a favorite of mine: When listening to the isolated instrumental track of She Loves You, I’m always impressed by how tight Ringo and Paul were.
Oh, Paul and Ringo are definitely up there for me too.
Hell, it might be Watt and anybody.