Maureen Tucker 
Now that you mention it, Dave Grohl was destined to be an Other Guy in a legendary band before he chose a different path. Given everything he has done, who he plays with - man, I wish I could have his life. 
I’ll be the bass player.
John Entwistle, John Paul Jones, Michael Anthony, Bill Wyman, Duff McKagan, Chris Squire, Phil Lesh, take your pick.
I’d be Duff. G’n’Fucking’R! Fuck yea.
I’d want to be Mik Kaminsky, the violinist from Electric Light Orchestra. The man has talent!
His violin is in large part what I enjoy so much about the ELO sound of the 70’s, although I also thoroughly enjoy ELO’s sound from the 80’s (where the strings were entirely absent).
Finding ELO-related music that I’ve never heard is like prospecting for gold in the Yukon or scavenging for scrap in the dank underhive of Necromunda. Sometimes you only find a few bitz worth keeping, but every once in a while you obtain a sizeable nugget.
Mik’s solo in the middle of The Night the Light Went on in Long Beach is one such nugget.
¿Que? I always thought the opposite. One of the most charming aspects of many of my favourite Led Zep tunes is how the production really gives room to the bass. For instance, in Lemon Song and Ramble On, but also in more thunderous tunes as In My Time of Dying, to take a few from memory (though I’m tempted to really dive into to this and come back with more/better examples, but I can’t right now).
This one’s my choice, up to and including his death in a Las Vegas hotel room surrounded by cocaine and hookers.
Page was really incredible in the control room. I once heard an unmixed version of one of their songs, I think it was Stairway or Ramble On,and it was dull and uninspiring. It was amazing to listen to the album version after Page had worked his magic on it. It was the song had then come to life.
Many times over the decades I’ve heard people claim that Led Zeppelin sucked live. Usually this is attributed to the guys’ being on drugs, but I’ve belatedly come to realize that they didn’t sound all that great when they were recording the songs in the studio either. It was Page’s wizardry in the control room that really made their music shine.
Along this line I reference their Celebration Day concert. I was very disappointed in Ramble On, their second song in the set, and thought they were up to their old tricks again. But it turned out their monitors weren’t working properly during the first couple of songs and they couldn’t hear themselves play. Page afterward expressed surprise that they were able to blunder their way through those first couple of songs as well as they did. After the monitor problems were corrected they were truly great. It would have been worth exorbitant sums to have been in the audience that night.
This is not to say they can’t play very well live if they want to, but I imagine it requires quite a bit in the way of rehearsal and tweaking of the control board, etc.
Ian Paice of Deep Purple. The only member who has been there since the beginning, and often overlooked in the ranks of 70s drummers, probably because he didn’t die. Paice can batter the skins with the best of them, but he also has a lovely light jazzy touch, and his ability to work with the other musicians in the band was second to none. “Smoke In the Water” is often derided as a big, dumb riff, but listen again to just how well the introduction is constructed, with the theme established on chopping rhythm guitar and repeated as the instruments gradually come in with Paice’s light shuffling touch holding it all together. It’s like the movement of a symphony, and it works perfectly.
Another in my six degrees list. I went to high school with his stepmother. 
I’m bass player, but I’ll go another way.
Andy Summers, guitar player form the Police. Not a shredder but simply nobody plays like him.
He’ll never be in many posters outside The Police, but he great.