Nick Beggs, bassist, by Tom Semioli 

 

Seminal Sides: Nick is yet another cat wherein if you discover his name in the credits, buy (stream) the slab! However for our purposes , do check out… Kajagoogoo White Feathers (1983), Genesis Revisited with Steve Hackett (2012), Do Nothing Till You Hear From Me, The Mute Gods (2016); 

 

Artists / Bands: Kajagoogoo, The Mute Gods, Fish On Friday, Howard Jones, Steve Hackett, Gary Numan, Alphaville, Belinda Carlisle, Emma Bunton, John Paul Jones, and Steve Wilson to cite a select few.  

 

You’re too shy shy, hush-hush, eye to eye…

 

It is paraphrased (by this writer) that “if you remember the 1980s – then you weren’t really there.” However, I was there, and I vividly recall the first time I heard this inescapable pop ditty “Too Shy” underpinned by a killer slap bass passage as rendered by Nicholas Beggs.

 

This Winslow, Buckinghamshire native first came to prominence as the anchor of the early ‘80s chart-topping, teen heart-throb Brit collective which worked under the moniker of Kajagoogoo – a name inspired by the sounds an infant (and a few heads of state…) utter in an attempt to communicate.

 

As is the fickle fate of many in the music biz, Kajagoogoo commercially flamed out following their fine dance-pop debut White Feathers (1983) upon the exit of their (gorgeous) lead singer Limhal (Christopher Hamill), and despite waxing two rather commendable platters under the truncated Kaja calling- card. They called it day in ’85 though they’ve since reunited on occasion.  

  

Yet the demise of the ‘Googoo, as we affectionately refer to them, did not derail Beggs. In fact, it was just the beginning of an adventurous career as a prolific composer, collaborator, producer, clinician, vocalist, sideman, educator, journalist (Bass Guitar Magazine, Loudersound, Music Radar ) solo recording artist, and record label executive (A&R Phonogram), among other endeavors.

 

Among Beggs’ projects which beg recognition include prog ensembles Iona, Fish On Friday, and The Mute Gods.

 

Nick has also toured and/or recorded extensively with Howard Jones, Steve Hackett, Gary Numan, Alphaville, Belinda Carlisle, Emma Bunton, John Paul Jones, and Steve Wilson to cite a select few.  

 

Nick’s weapons of choice include a MIDI modded out Chapman Stick (“Virtual Stick”), Fender Jazz (fretless), Spector 4,5, fretless), a Manson Double-Neck Nick Beggs Bass, Rickenbacker 4003, MusicMan Stingray, Wal (4,5 string), and Vigier Arpege, among others.

 

Beggs enjoys a high profile in the bass community – there are numerous videos and features wherein he demos products, lectures on the craft, discusses his approach to the instrument(s) and his life philosophies which are worthy of your exploration!  Beggs is a strong proponent of music education – advising bassists to read, study theory, technique, and above all “listen” and play in as many situations as possible!

 

We had him selected for a KYBP on Film interview in 2019 however scheduling prevented our meeting, but when we return, we’ll talk with Nick.

 

In the meantime, dig these Beggs bass guitar and stick tracks:

 

Kajagoogoo “Too Shy” https://youtu.be/rkpG4XApJ28

 

Kaja “The Lion’s Mouth” https://youtu.be/tU_ik6msJDM

 

Iona “Flight of the Wild Goose” https://youtu.be/0nKiOCLcnMU

 

Fish On Friday “Letting Go of You” https://youtu.be/0nKiOCLcnMU

 

The Mute Gods “Feed The Troll” https://youtu.be/7oinol5pNWY

 

The Mute Gods “One Day” with Alex Lifeson https://youtu.be/9oO4PQDemQE

 

With Steve Hackett working a Rickenbacker 4003 “Tubehead” https://youtu.be/LRbvUtTTutA  and “Everyday” https://youtu.be/KUZdQnMKuNQ

 

Howard Jones Acoustic Trio “What Is Love” https://youtu.be/FhtFZGOfrXc

 

“Portrait of Tracy” “Words Fail Me” https://youtu.be/7u-FwNLPyOk

 

Beggs Plays Steve Wilson (snack and nail file included)  “Personal Shopper” https://youtu.be/uROM05_ARxc

 

 

No ensemble captured the zeitgeist of the MTV era more so than Duran Duran and their bassist Nigel John Taylor. Though oft derided as “video stars” more so than musicians, this Birmingham lot had the chops as players, recording artists, and performers to go the distance and then some as they remain a force – albeit nostalgic – on the bandstand and recording studio.  Nice work if you can get it! 

 

Profoundly inspired by David Bowie’s Berlin-era anchor George Murray, assorted Roxy Music players, and Chic’s Bernard Edwards (John now owns his MusicMan Stingray bass), Taylor’s basslines – as played on an Aria II model – waxed with Duran Duran and the super group that actually lived up to its name – The Power Station- created the hooks that made the hits.

 

Aside from Duran x 2, John has cut solo sides, authored a fine memoir In The Pleasure Groove, acted on film and television, and collaborated with simpatico pallies including Steve Jones, Duff McKagan, and Matt Sorum in Neurotic Outsiders.

 

 

John Taylor Sound & Vision…

 

Duran Duran

 

“Last Chance on the Stairway” https://youtu.be/quqp_PeWc6A

 

“Tiger Tiger” https://youtu.be/3pScycbJX60

 

“Rio” https://youtu.be/nTizYn3-QN0

 

“Notorious” https://youtu.be/Z9z0e1Wm64M

 

Power Station

 

“Get It On Bang A Gong” https://youtu.be/O2vHbXI2p4k

 

“Some Like It Hot” https://youtu.be/Hw1t7OCESUw

 

Neurotic Outsiders 

 

“Jerk”  https://youtu.be/bOs3wBAfwMo 

 

Coda: Taylor’s chorus enhanced tone and nifty combination of finger and slap style was in such high demand in the 1980s that I ventured to Denmark Street in London to appease the US producers who employed me and brought home an Aria II bass for sessions as said instrument was not available stateside in them days! That’s how influential they were.

 

 

John Taylor with author, influencer KYBP Super Fan Geoffrey Dicker

 

 

 

He is the Mac in Fleetwood Mac!

 

Seminal Sides: John Mayall & The Blues Breakers with Eric Clapton; Then Play On (1969), Future Games (1971), Mystery to Me (1973), Fleetwood Mac (1975), Rumours (1977), Tusk (1979), Live (1980), Say You Will (2003).

 

The late, truly great British blues guitar icon Peter Green was clever to name his fledgling ensemble for drummer Mick Fleetwood and former tax inspector / bassist John Graham McVie. Acknowledged among the most identifiable and flexible rhythm sections in rock history, Fleetwood’s bona fide Mac is a consummate song player – from pop to improvisatory blues.

 

Born in London in 1945, John commenced his musical journey as a teen, moving from trumpet, then to guitar, and then to bass when his dad purchased a snazzy Fender akin to Jet Harris – which must have cost a small fortune in the economically depressed post-war UK! 

 

McVie’s tenure in John Mayall’s Blues Breakers commenced when he was still relatively new to the instrument. Yet McVie help set the template for standard rock blues electric bass: working the lower register, outlining the changes, plying subtle harmonic extensions, and supporting the resident god-like guitar hero with a fat tone.

 

As with The Rolling Stones’ Bill Wyman, Mac’s approach evokes how Willie Dixon might have sounded had he played electric – which is quite logical given that his boss John Mayall (who hired and fired Mac several times) tutored the emerging musician, and was a staunch Dixon devotee.

 

Blues Breakers with Eric Clapton (aka “Beano”) is among the most influential albums of the classic rock era. Note that McVie and drummer Hughie Flint worked the pocket in the service of Mayall and Slowhand with a decidedly swing feel.

 

John McVie Sound & Vision…

 

John Mayall & The Bluesbreakers

 

“All Your Love” https://youtu.be/rUUEtCBhn_Q

 

“Steppin’ Out” https://youtu.be/PkulcvRkd4I

 

With Fleetwood Mac, and its various singer / songwriter / “front persons” including Peter Green, Jeremy Spencer, Danny Kirwan, Bob Welch, Christine McVie, Stevie Nicks, Lindsay Buckingham, Dave Mason, Rick Vito, Billy Burnette, Neil Finn, and Bekka Bramlett, McVie waxed inventive passages in support of the superstar singers and their chart-topping songs and album tracks. Often the subject of his ex-wife Christine McVie’s songs on Rumours, McVie’s weapons of choice included the Fender Jazz, Precision, and Telecaster Bass, and Alembic. Nowadays he’s a Lakland man. In 1992 John waxed his sole solo slab John McVie’s Gotta Band with Lola Thomas.

 

 

 

McVie also worked the occasional session, most notably with Warren Zevon on the classic track “Werewolves of London” with Mick Fleetwood helming the drum chair: https://youtu.be/iKtPOC3VqGs

 

And dig these Deep Mac tracks…..

 

“Rattlesnake Shake” (Then Play On / 1969) https://youtu.be/ob5Q_daCOB8

 

“Coming Your Way” (Then Play On) https://youtu.be/JCEqKVDsa0E  

 

“Station Man” (Kiln House / 1970) https://youtu.be/YSZJFWn7OM4

 

“Sands of Time” (Future Games / 1971) https://youtu.be/1Jkp34jMeEw

 

“Child of Mine” (Bare Trees / 1972) https://youtu.be/F–ImFAn8oU 

 

“Revelation” (Penguin / 1973) https://youtu.be/chcRAWh8Tik

 

“Miles Away” https://youtu.be/3za5HwkfuVQ and “Hypnotized” (Mystery to Me / 1973) https://youtu.be/fDzXbdxeeHI

 

“Bermuda Triangle” (Heroes are Hard to Find / 1974) https://youtu.be/f83nXE0TBvA

 

“Rhiannon” (Fleetwood Mac / 1975) https://youtu.be/jQAK6sVovUk and “The Chain” (Rumours / 1977) https://youtu.be/kBYHwH1Vb-c

 

Photos Courtesy of Fleetwood Mac . Com

 

Photo by Wade Gradia

Greg Lake, bassist by Tom Semioli 

 

Lady Supermarket with an apple in her basket, knocks on the manager’s door… 

 

Seminal Sides: King Crimson, Court of the Crimson King (1969) and In the Wake of Poseidon (1970); Emerson, Lake & Palmer,  ELP (1970), Tarkus (1971), Pictures at an Exhibition (1971), Trilogy (1972), Brain Salad Surgery (1973), Works Volume 1 (1977)

 

Among the most influential, innovative, and revered ensembles of prog rock’s golden era were the original configurations of King Crimson, and Emerson Lake & Palmer – both fronted and anchored by vocalist, bassist, songwriter Gregory Stuart Lake. Prompted to take up the electric bass at the behest of his school buddy Robert Fripp – Lake’s work on Court of the Crimson King (1969) was watershed – his adventurous passages bolstered the ensemble’s frenetic forays into classical and jazz in a rock context.

 

Said Lake on his website “…there is a common thread throughout all the music. The forms may be different, but each one to some degree draws upon inspiration from the past. I am as proud to have been as influenced by people like Elvis and Little Richard as I am by composers like Copeland and Prokofiev and I’m honored when other musicians regard me as one of their inspirations.”

 

With ELP, Lake’s bass artistry served as the rhythmic and harmonic bridge between his two virtuoso mates as they broke ground on each ensuing release.  Lake, akin to Sir Paul, Brian Wilson, and Joe Osborn, was a master of upper register countermelodies. His weapons of choice included the Fender Jazz, and later, the Alembic.

 

Greg’s excellence as a bassist was matched by his excellence as a singer and pop composer: “Lucky Man” (a song he wrote at the age of 12), “From The Beginning,” and “Still You Turn Me On,” among others are defining recordings of the classic rock era.

 

Though his solo career and various ELP reunions – including one incarnation with Cozy Powell in the drum chair – failed to generate any significant attention beyond hard-core fans, Lake’s legacy with King Crimson and ELP as a bassist, singer, composer, and producer is matchless – and worthy of rediscovery and further evaluation by 21st Century schizoid prog rockers! .

 

“21st Century Schizoid Man” live at Hyde Park 1969 https://youtu.be/MM_G0IRLEx4

 

“Cat Food” https://youtu.be/uQuAboEvags

 

“Lucky Man” https://youtu.be/lmT2KvF4P5g

 

“From the Beginning” https://youtu.be/a9kXfW2gIcw

 

“Still You Turn Me On” https://youtu.be/McNQqH3RGGI

 

 

 

He anchored several top bands in his native New Zealand including Healing Force, Chain, and a collective which worked under the moniker of “Mississippi” – which later changed their name to the Little River Band. Bassist Charles Turu Tumahai migrated to London and answered an anonymous Melody Maker classified ad planted by Bill Nelson for Be Bop Deluxe, and the rest, as they say, is history.

 

Why Be Bop Deluxe’s smart meld of progressive, glam, and power pop never achieved wider commercial success ala Roxy Music and David Bowie remains a bona fide rock and roll mystery….

 

Tumahai came on board for Be Bop’s second album Futurama (1975) and was featured prominently on the band’s finest studio set Sunburst Finish (1976) which featured FM radio staples “Fair Exchange,” and “Ships in the Night.”

In addition to his accomplished backing vocal skills, Tumahai, who mostly plied his craft with a Fender Precision and Telecaster bass, incorporated reggae, funk, hard rock, disco, and jazz influences into Nelson’s mesmerizing tales of romance and space exploration.

 

Following the demise of Be Bop, Charles toiled in a few more bands, most notably Tandoori Cassette, which featured former members of Jethro Tull (Barrimore Barlowe) and Nazareth (Zal Cleminson).

 

In 1985 Tumahai returned to New Zealand, working as an activist on behalf of Maori offenders in the country’s prison system, and as an educator. Sadly, Charles passed in 1995 while working in the Auckland District Court of a sudden heart attack at the age of 46.

 

Charles Tumahai  Sound & Vision…

 

Be Bop Deluxe Live at the BBC 1976 “Ships in the Night” and “Fair Exchange” https://youtu.be/I6j6Yo4tjPM

 

…and Live at the BBC “Forbidden Lovers” and “Down on Terminal Street” https://youtu.be/lPDzqllyGH4

 

Healing Force: “Golden Miles” https://youtu.be/NEmsy0UgqoA

 

 

 

Gary Thain, bassist (electric) by Tom Semioli

 

Seminal Sides: Sweet Freedom (1973), Wonderworld (1974) with Uriah Heep, Halfbreed (1969), Overdog (1971) with the Keef Hartley Band

 

Artists / Bands: Uriah Heep, The Keef Hartley Band, The Strangers, Me & The Others 

 

Gary’s playing style on his Fender (Jazz) bass and choice of flat-wound strings made for a distinct sound. He never used a plectrum (pick), preferring to use his thumb, the result being a very pure bass sound without the harsh “attack” sound and harmonics that would normally result from using a pick. Studying Gary’s face and body motions during a performance would reveal a very intense focus on his part for the particular song being performed. Todd Fisher (Uriah Heep crew member – as told to Uriah-Heep Com)

 

‘Twas a time when hard rock bassists brought their formidable understanding of jazz, classical, and blues to the genre – as evidenced in the bass artistry of the late, great Gary Thain with Uriah Heep.

 

A master pocket and melodic player Thain paid his dues with the influential Keef Hartley Blues Band in the late 1960s, appearing on such seminal sides as Halfbreed (1969) and Overdog (1971), and lifted Heep into their golden era when he joined the lads in the early 1970s.

 

Though the prog-metal masterpiece The Magician’s Birthday (1972) is considered to be the New Zealand native’s greatest work with the potent Heep, dig Thain’s wicked rhythm and blues grooves which bolster the underrated Sweet Freedom (1973) and Wonderworld (1974)– wherein Gary’s resonate Fender bass work boogies akin to the soul masters James Jamerson, Chuck Rainey, and Jerry Jemmott.

 

After toiling in bands in his native New Zealand, most notably The Strangers which waxed three singles, Gary anchored an ensemble which worked under the moniker Me and The Others. That band toured extensively throughout Europe, wherein he caught the attention of Keef Hartley. Gary cut five albums with Hartley and appeared at Woodstock ‘69, among other high profile festivals.

 

Sadly Gary battled substances and personal problems during his time with Heep, including an on stage electrocution, which he never recovered from. He passed at the age of 27 in 1975.

Gary Thain Sound and Vision

 

 

Dig Gary with The Strangers “Alright” https://youtu.be/EQqSN9JgQBE

 

 

Dig Gary with the Keef Hartley Band:

 

 

“You Say Your Together Now” with Gary on lead vocals: https://youtu.be/9-xGSul9rpk

 

 

“Marin County” https://youtu.be/YEgFRZngk54

 

 

“Leavin’ Trunk” https://youtu.be/6yP1E5YNxBk

 

 

Gary anchoring Keef’s “Little Big Band” https://youtu.be/KsLJjNLx9Mw

 

 

Dig Gary with Uriah Heep…

 

 

“Dreamer” https://youtu.be/6uFsuDnc7l8

 

 

“The Wizard” https://youtu.be/QaRXQkuB2SM

 

 

Live At Shepperton 1974 (“Easy Livin’‘ “So Tired” “Stealin’ “Love Machine” https://youtu.be/RdfHizhN2FE

 

 

Live in Tokyo “Sunrise” https://youtu.be/qVobQTaoV7s

 

 

“Something or Nothing” https://youtu.be/_uHYdB2Sncw

 

Pat Travers, bassist (electric) by Tom Semioli 

 

Seminal Sides: Putting It Straight (1977) Live, Go For What You Know (1979), Crash & Burn (1980), Radio Active (1981) – all with The Pat Travers Band 

 

Artists / Bands: The Pat Travers Band 

 

“What for!” bellowed the late, great Mars Cowling when he heard about Know Your Bass Player!

 

Ask any hard rock, blues bassist with a reverence for history whom they consider to be the true virtuosos of their chosen genre, and they’ll  respond Peter “Mars” Cowling!

 

A self-taught player, the enigmatic, tight trouser-ed (even in his later years!), well-coiffed (always) Grimbsy, England born bassist was a nimble fingered ace. Mars punctuats Pat Travers’ riffage and Tommy Aldridge’s frenetic rhythms with a blinding array of double-stops, slaps, chords, and harmonies galore – all (fashionably) rendered from his sterling white Fender Precision, and often filtered through flange / chorus / phaser effects.

 

Though Cowling was a busy player, he always served the song. If there was a space, Mars filled it and then some… most bassists would have been asked to leave the bandstand, however Cowling’s flash complimented his mates, and served as a rhythmic and harmonic catalyst.

 

The “Mars” moniker: While a member of Eddie Levine and the Escorts, Pete had a habit of consuming Mars candy bars at any given chance – hence Mike Mills, a singer with The Nighthawks, bestowed the infamous nickname “Mars” which stuck with Mr. Cowling throughout his career and personal life!   

Eddie Levine and the Escorts at the Mecca Ballroom in Grimsby 1963 – L to R: bassist Mars Cowling, singer Eddie Levine, lead guitarist “Memphis,” drummer Geoff Knight, and “Migs” on second lead guitar.

Mars Cowling Sound & Vision: 

 

Mars’ signature passage “Boom Boom Out Go The Lights” (live) https://youtu.be/U4XbV3gCm2Y 

 

Mars and Pat on Canadian TV “Hooked on Music” https://youtu.be/OaCWf8LZsiU

 

The mustachioed Mars for an entire 1976 episode of Rockpalast https://youtu.be/bvec0ZVGBnk

 

Here’s Tony Senatore’s rendition of Mars’ passage on “Snortin’ Whiskey” https://youtu.be/WwTuoYW-aYQ

 

Mars Coda: I first met Mars in 1995 in Miami, Florida. At the time, he was working in a band with my close friend, saxophonist Stan Waldman. Mars had forsaken the music biz for the boating biz, which was his first love. Mr. Cowling possessed a wicked, dry British sense of humor (or should I spell that “humour”). He did not suffer fools gladly. I’m forever pleased that our last meeting at Capone’s Flicker Lite in Hollywood Beach Florida (with Tim Ravenna) to hear our mutual friends Stan Waldman and Frank Carmelitano was a grand time – rife with stories, anecdotes, and laughter.  Mars and I talked bass well into the wee hours, and he agreed to appear in KYBP on Film. Sadly we never got that opportunity as he passed shortly after. Like many of the greats, Mars was never keen to talk about himself, rather he let his artistry say everything that needed to be expressed. Godspeed Mars! 

Tim Ravenna, Stan, Frank, Tom, and Mars.

Mars Cowling and KYBP Adjunct Professor Tony Senatore

 

a

He is among the most revered British sidemen – session cats ever. Every record Alan anchored is worthy of exploration.  Among his most noted recorded works include Jesus Christ Superstar (1970), Joe Cocker! (1969), Leon Russell (1970), Paul Kossoff Back Street Crawler (1973), Alvin Lee In Flight (1974), and Roxy Music Avalon (1982).  You’ve heard him on stage and on record with Joe Cocker’s Grease Band, Roxy Music, Jim Capaldi, Paul Kossoff, Spooky Tooth, Alvin Lee, Kokomo David Coverdale, Bryan Ferry, Peter Frampton, Donovan, Steve Winwood, Ted Nugent, and Leon Russell, among many, many others…

 

If it were only for his incomparable bass passages on Jesus Christ Superstar (1970), Alan Spenner is legend. Spenner spins lines that exuded a soulful, rhythm & blues disposition akin to Motown masters James Jamerson and Bob Babbitt. Alan’s first professional gigs were with the blues/jazz outfit Wynder K. Frog which featured an impressive line-up of keyboardist Mick “Blue” Weaver (Mott the Hoople, Keef Hartley, David Gilmour), guitarist Neil Hubbard (Bluesology), drummer Bruce Rowland (Ronnie Lane, Fairport Convention, Joe Cocker), percussionist Reebop Kwaku Baah (Traffic), and saxophonist Chris Mercer (Bryan Ferry, Chris Farlowe, John Mayall). All these musicians intersected on many of the record dates that Spenner helmed.  Sadly, Alan passed at a young age (43) from a sudden heart-attack. 

 

Among Alan’s primary weapons of choice are Fender Precision – fretted and fretless. In his later years Alan switched to Wal basses. 

 

Alan Spenner Sound & Vision: 

 

Roxy Music “Same Old Scene” https://youtu.be/vXOgQN1a7bE

 

Roxy Music live “Avalon,” “Love is the Drug” https://youtu.be/co9TRT4Dar0

 

From Jesus Christ Superstar: “What’s The Buzz” https://youtu.be/c3LM2iQ8p7A

 

Tom Jones & Joe Cocker: “Delta Lady” https://youtu.be/V1gxVOcLZcI

 

Tony Senatore’s renditions of Alan’s passages from Jesus Christ Superstar 

 

“Gethsemane” https://youtu.be/vbLvAyrB6cU

 

“Herod’s Song” https://youtu.be/jBVVKbmwQu8 

 

“Heaven On Their Minds” https://youtu.be/ttnashv77K4

 

Alan with Joe Cocker at Woodstock: “Something’s Going On” https://youtu.be/kGbK5y94LOE

Berry Oakley, bassist (electric) by Joe Gagliardo

 

Artists/Bands: The Allman Brothers Band, The Shaynes, The Roemans, The Blues Messengers

 

Seminal Sides: Everything that Berry waxed with the Allman Brothers Band is essential listening for all bassists. Be sure to review the studio slabs, the live collections, and all the archival concert recordings!  

 

Thank you to Ken Voss and the Illinois Rock & Roll Music Archives for providing much of the historical information about Berry.

 

Here’s a man that certainly fits the lyrics to the Allman Brothers’ “Ramblin’ Man” – “trying to make a living and doing the best I can.” His name – Raymond Berry Oakley. But the Allman Brothers were from Georgia, you say. Yes, but like the Paul Butterfield song, Berry Oakley was born in Chicago and raised in Park Forest, Illinois!

 

While attending Rich East High School, Oakley was in a local band called The Shaynes, other members including Tom Morris and Tim Grossi. “Berry was one of the original hot licks lead guitar players in the Chicago area back in the ’60s. His band, The Shaynes, and my group used to play many of the same venues,” remembers Brian Paul. Since my band was comprised of guys a year or so younger than Berry and his guys, we often were the warm-up act,” he said. Playing guitar at that time, “Berry used to play a forest green Strat through a 2 X 12 Sears Silvertone amp back then, and it sounded great!”

 

As the band gained popularity in our area, they got to play with some pretty big-name acts of the time, including The Byrds. One group they played with a lot was Tommy Roe’s backup band, The Roemans. This is where Berry got his first big break. The Roemans’ bass player was drafted, leaving a void. Berry’s band was playing the warm-up show for them at Westwood Junior High in Park Forest, Illinois when he found out about the impending departure of their bass player, and volunteered to take his place.

 

The only problem was that Berry did not play bass! So he pressed into service the talent of his good friend and former bass player, Jim May. Jim was the guy who got Berry playing bass. He coached him for about two weeks to get him going. Berry then dropped out of Rich East High School and went on the road with The Roemans.

 

After his stint with Tommy Roe’s group, Berry ended up in Florida, playing with various bands in the lucrative beach scene there. In Sarasota, he met guitarist Dickie Betts who was putting together a new band. Oakley joined along with drummer John Meeks, guitarist Larry Reinhardt and keyboardist Reese Wynans (who later went on with Steve Ray Vaughan’s Double Trouble); and they became the Blues Messengers.

 

In 1968, the band migrated through some personnel changes and relocated to Jacksonville, changing their name to the Second Coming, and released one single on the Steady Records label that included “I Feel Free” (which the Allman Brothers remade on their album Dreams) and a version of the Jefferson Airplane’s “She Has Funny Cars.”

 

It was then they met Duane and Gregg Allman. Unwilling to break up his band situation and friendship with Dickey, Berry declined Duane’s first offers to join his group. What ended up happening is that both Oakley and Betts ended up joining, and the Allman Brothers Band was formed.

 

Oakley played an important part of the sound in the early days of the Allman Brothers Band. Duane didn’t want somebody who just played bass, he wanted someone who was capable of taking the instrument and the music to a different level. In Berry, he found the perfect person. Oakley became a crucial element in the evolution of the iconic Allman Brothers Band, known for his deep and melodic bass lines that provided a platform for Duane Allman and Dickey Betts’ aggressive and dueling solos and jams.

 

Berry’s weapon of choice was a bass nicknamed “The Tractor.”  It was a Fender Jazz bass modified with a Darkstar Hagstrom pickup that was made for the Guild Starfire bass.  He moved the Jazz neck pickup down between the bridge and bridge pickup, and put the Darkstar pickup where the neck pickup was.

 

Sadly, on November 11, 1972, Berry died as a result of a motorcycle accident, that took place 3 blocks from where Duane died in a motorcycle accident the year before. His music and legacy live on with the catalog of Allman Brothers records we’re left with.  Berry was inducted into the Rock and Roll Hall of Fame in 1995 as an original member of the Allman Brothers Band.

 

Every track Berry Oakley waxed with the Brothers is essential – here is our list of favorites!

 

“Mountain Jam” https://youtu.be/w9ZubobGMLs

 

“Whipping Post” with video https://youtu.be/FUvxRjYqjEQ

 

“One Way Out” with video https://youtu.be/yJ9twEldw_M

 

”Ain’t Wastin’ Time No More: https://youtu.be/4uWQszeuX2A

 

“Ramblin’ Man” https://youtu.be/7KeoYzHPKF0

 

Dig Berry taking the lead vocal on “Hoochie Coochie Man” https://youtu.be/mVIBBJ9XttI

 

“Stormy Monday” from Fillmore East https://youtu.be/_m5kWLCTFhw

 

Dig Berry’s isolated track for “Ramblin’ Man” https://youtu.be/PIxKyEsMyVM

 

Dig Berry on “Ramblin’ Man” live at one of his last performances. https://youtu.be/jUTORC4eoGc

 

Check out former Allman Brothers Band bassist (1979-82) David Goldflies’ commentary on Berry from his Know Your Bass Player On Film interview. https://youtu.be/XS0uDHbCMi8

 

Note that Berry’s son Berry Duane Oakley Jr. is also an accomplished bassist: https://www.allmanbettsband.com/berry-duane-oakly/

Tom Semioli coda….

Perfection is defined as “the action or process of improving something until it is faultless or as faultless as possible…”

 

Though the Allman Brothers made their bones (and legend) as instrumentalists, interpreters, and improvisers, especially in their early years circa 1969-72 – Gregory LeNoir Allman and Forrest Richard Betts penned many a memorable tune. 

 

To my ears “Melissa” b/w “Blue Sky” are their pinnacle compositions – as was the performance of their bassist Berry Oakley on these seminal tracks.

 

Akin to Sir Paul and Brian Wilson, Berry plies pedal tones, pocket grooves, and countermelodies which enhance the songs. When you’re on the bandstand playing either of these classics – and that included Lamar Williams, David Goldflies, Alan Woody, and Oteil Burbridge – if the bassist does not replicate Oakley’s motifs, the songs lack authenticity!

 

Perfection!!!!

 

“Blue Sky” https://youtu.be/UToUzWgHGyQ

 

“Melissa” https://youtu.be/bX72xzzoqkc     

 

 

Ever since I was a child I’ve always been very attracted to melodies. Whether I hear Jeff Beck, a choir, an ocean or the wind, there’s always a melody in there… Carlos Santana

 

Anybody can play. The note is only 20 percent. The attitude of the mother****r who plays it is 80 percent… Miles Davis

 

Which brings us to Benny Rietveld, chosen by both Carlos and Miles to helm the bass chair on some of their most potent sides, and on stage.

 

Inspired by Chris Squire and Sir Paul, Santana musical director Benny Rietveld has been the longest tenured bassist in Carlos’ numerous collectives commencing with the album Spirits Dancing in the Flesh in 1990.

 

Following his studies at the Hawaii College of Music, and work with artists spanning The Crusaders, Richie Cole, Makoto Ozone, and Sheila E., Benny, among others, Benny anchored Miles Davis on his last major tour in ‘88 and remained with the jazz icon until 1990, waxing tracks that have been featured on various archival live and studio releases.

 

A composer, recording artist, film director, educator (Ben Rietveld Bass Essentials – Hot Licks) and producer, Rietveld waxed his lone solo slab Mystery of Faith in 2001 which features cameos from Carlos and Tom Coster.  Among Benny seminal sides include Miles Davis Around the World (1996); Santana Spirits Dancing in the Flesh (1990), Milagro (1992),  Supernatural (2000), Santana IV (2016); Santana / Isley Brothers  Power of Peace (2017),  and Cindy Blackman Another Lifetime (2010), to cite a select few.

 

Benny’s weapons of choice include MusicMan Sterling (four and five string), Lakeland 4-94, MTD 5 String, and an NS electric upright.

 

 

 

 

Benny Reitveld Sound & Vision:

 

Sheila E. “The Glamourous Life” https://youtu.be/KOoWMtxR8GQ

 

Miles: “Me & U” https://youtu.be/nHXm-_-LT0I

 

Live In Europe The Prince of Darkness https://youtu.be/VMTO0jPp2Z0

 

Benny and Carlos:

 

“Smooth” https://youtu.be/6Whgn_iE5uc

 

“Black Magic Woman” https://youtu.be/-2O81STmDGg

 

“Samba Pa Ti” https://youtu.be/3LIPKtZyX6M

 

Santana and The Isley Brothers:

 

“Are You Ready” https://youtu.be/lHK9vzhxxLE

 

“Higher Ground” https://youtu.be/_OmUIOAZqF8