By Joe Gagliardo

How does a guy from Chicago, via Peoria, Illinois, end up being the lead singer, bassist and producer for an Australian group that had achieved massive success all over the world?  You are about to find out!

Wayne Nelson was raised in a musical family: his father was a drum major in college, and his mom loved classical music. Surrounded by majestic music playing in the house, his parents also sang in their church choir, and got Wayne involved at a very early age. Singing in the choir, while standing in front of the pipe organ, Wayne developed a love for the bass and cello sections.

In high school, Wayne formed his first band, serving as a bassist and lead singer. Starting out on a lemon yellow Teisco, dubbed the “yellow submarine,” Wayne graduated to a 1968 Fender Precision bass, and ultimately to his current basses, a 5-string Victor Wooten model Jazz Bass and a 5-string  Ernie Ball MusicMan StingRay.

Among Wayne’s bass heroes are a varied group with regard to genres and playing styles: James Jamerson, Paul McCartney, Bill Wyman, Peter Cetera, Jim Fielder (Blood, Sweat & Tears), Jaco Pastorius, Jack Bruce, Larry Graham, Ron Carter, Charlie Mingus and Anthony Jackson.

Those influences have served Wayne well.  While in Chicago, he was in The Grip, which included former American Breed and Rufus members, Lee Graziano and Paulette McWilliams, who, in addition to her solo career, went on to sing with Marvin Gaye and Luther Vandross, among others, and he appeared on Paulette’s LP, Never Been Here Before.

He also played with Wooden Nickel singer/songwriter/ recording artist, Megon McDonough; Koala, which was a blue-eyed soul funk band, and John Bishop, a jazz guitar player.

Moving to Los Angeles at the suggestion of one of his former band mates, Wayne played bass with singer Eloise Laws, the sister of Hubert and Ronnie, and the drummer, coincidentally, was Andre Fischer, who was the drummer on the first Rufus LP with Chaka Khan.

Wayne played with Jim Messina for two years and anchored the former Buffalo Springfield / Loggins & Messina guitarist’s debut release, Oasis.  His tenure with the Messina band included a two week tour in 1980 opening for the Little River Band. During that trek, Wayne was asked to join as the bass player.  Fast forward 40 years, and Wayne is now the bassist, lead singer and producer of the Little River Band.

Keep up with Wayne and the Little River band here: www.reallittleriverband.com

Check out Wayne’s singing and bass lines with the LRB:

“It Was The Night” https://youtu.be/2qsQrsjkPpM

“How Many Nights” https://youtu.be/OdOxR_GkWMU

“It’s Just a Matter of Time” https://youtu.be/G4UOCkJ9YeE

In the early 90’s Wayne was also part of the LA Cowboys, with their sole release Endless Summer, produced by Wayne and Jim Studer, and included Michael Thompson, Michael Landau, Tris Imboden and Greg Bissonette.

Check out the title track “Endless Summer”  https://youtu.be/3SsQ4-Kd4zA

By Robert Jenkins

Forebode bassist Guillermo Madrigal is a force of nature.

He stands close to nine feet tall and weighs almost 700 pounds of pure muscle!! Okay, maybe 6’3” and 250 but it’s still pure muscle; and he looks like he can bench 400….

Frighteningly, Guillermo’s bass rig matches his physique!

His main rig consists of a Sunn 300T and an Ampeg SVT2 both running into a Worshipper 4×15 speaker cabinet. FOUR. FIFTEEN. INCH. SPEAKERS!

His bass of choice? A vintage Peavey T-40, which is, of course, the heaviest bass ever made. Guillermo is also an avid collector of vintage Peavey basses and guitars, sporting three T-40 basses in his collection. Needless to say; he can move some air.

Asked about his fascination with the T-40 Guillermo simply replied that when he first tried the instrument as a beginning player – “it just felt right!” And he puts all of them to good use!

Forebode is a crushingly heavy band, leading the “Doom Metal” scene here in Austin. In my honest and humble opinion, Forebode is the heaviest band on the scene right now. They have one EP and are currently working on a full-length album, hopefully due out in 2020.

Despite his intimidating physique and stage presence, Guillermo is one of the nicest people you could want to meet. A recent devotee to the bass, Madrigal was naturally drawn to the instrument. Once again, the instrument “just felt right for him.“

His influences are wide and varied, however when I asked who his favorite bassist was he had to call it a tie between Jaco Pastorius and Al Cisneros.

Guillermo can be seen and heard with Forebode regularly around the Austin metal club scene and in the surrounding metro area.

Check out Forebode on their most recent EP

https://www.youtube.com/playlist?list=OLAK5uy_laW3j9z7YihhA8kws_bn853KunVHSados

By Joe Gagliardo

During his senior year of high school, singer / guitarist Mark Dawson was told by his bassist that he was quitting the band and heading off to college. At the suggestion of the trumpet player, Mark picked up the bass, started playing, and realized how natural it was for him! This decision created a trajectory no one could have predicted.

In the mid-70’s Mark played bass with several area bands in an era when radio rightly supported local artists – much like the 1960s.

Mark’s band Street Kids had their namesake song “Street Kids” on the WKQX 1977 Hometown Album.

From 1983-1995, Mark was with the All Night News Boys, who had several releases on cassette and CD.

A few years earlier in 1980, Mark played with Dreamer, and The Loop (WLUP) added the band’s song “Radio” to the Chicago Rocks, Volume One LP.

In 1995, Mark moved to Florida. As a result of a casual conversation with another customer in a pizza place a few years later, Mark began singing high tenor with a group of vocalists from New York, called themselves Street Lites.  That group focused on doo-wop and Motown and lasted for about eight years, playing along Florida coast.

In January 2008, Mark received a call from an old Chicago friend, Jim Lenz, who asked him about his familiarity with The Grass Roots’ songbook.  At that point, there was a need to sub for Rob Grill for a handful of shows.  Luckily, Mark loved The Grass Roots from his youth, and was familiar with their music. He was given just four days to learn the show on bass and lead vocals!

That offer to play a handful of shows led Rob Grill offer Mark the opportunity to stay with the band. Mark ultimately accepted and took over as lead singer in addition to his bass duties.  Mark has been a fixture with The Grass Roots for the last twelve years.

Mark’s first bass was a 1972 Fender Precision, which was his go-to axe for years.  While he owns several vintage basses, his road bass is an Arctic Blue late 90’s Fender Precision that he had put together: Mark changed the neck, added EMG pickups, and a pickguard that showcases the
Arctic Blue color.

Being a bassist and singer, it makes sense that his bass heroes include those players who also sing, including Paul McCartney, Sting, and Geddy Lee.

The Grass Roots continue to tour regularly, often as part of the Happy Together Tour.

Catch them if you can—still a great show.

Check out Mark on bass and vocals: “Midnight Confessions”  https://youtu.be/l2s977_pBzU

There are players that play with an overall adherence to tradition – which are most of us. Then there are the cats who take the bass to new places every time they pick up the instrument. Enter Charles Lambiase, a master groove and improvisational player. When Charles plays, you hear the entire history of the bass guitar in his melodies, and tone. And you also hear where the bass can go – harmonically, rhythmically, and spiritually. And he customizes his tools of the trade, of which he has many. But you always know it’s Charles Lambiase in one note, one phrase, one passage! Tom Semioli: Interviewer / Writer. Mark Preston: Director / Producer. Drew Taylor: Cinematographer. Mark Polott: Editor / Photographer. [www.KnowYourBassPlayer.com]

By Joe Gagliardo

He was influenced by his bass playing 8th grade teacher, and his first instrument was a National EBO.  Following a few early efforts, Clay Tomasek set the instrument aside and opted for life as a roadie. That experience gave him the itch to start playing again, and he teamed up with Lee Popa, a soundman he had been working with, and by the mid-1980’s they had put together the earliest version of the Slammin’ Watusis.

Influenced by the DIY (do-it-yourself) movement that had been a big part of the punk and late-70’s music scene, the Watusis played wherever and whenever they could, often joined on stage with guest musicians who happened to be in the audience.

One-by-one, Clay and Lee added musicians as they went along—Fast Frank on harp and sax, guitarist Mark Durante and drummer Benny Saphire.  With a punk rhythm section, a metal guitarist, melded with the jazz and blues influence from Fast Frank – the Slammin Watusis emerged as a unique ensemble.

A chance meeting with an Epic records executive in the late-80’s, thanks to Jay O’Rourke of The Insiders, resulted in two LPs for Epic, Slammin’ Watusis, and Kings of Noise.  The two albums are hard and raw, reminiscent of the MC5.

The band toured extensively, including stints with the Red Hot Chili Peppers, Primus, and Living Colour.

Check out “Livin’ in Sin” https://youtu.be/62NUDmNwabo

Check out “Madness and Mania” https://youtu.be/LQqVdXqoEbk

Clay played a ’71 Fender Precision on the first release, and a ‘64 Fender Precision on their sophomore effort – which remains his go-to instrument today.

Since 1990, Clay has anchored Green, a band that has enjoyed great success in the U.S. and Europe.  Their music is an amalgam of British Invasion, pop and rock, mixed with soul.  Green continues to record and perform live, catch them if you can!

Check out Clay’s melodic bass lines, reminiscent of his influences of Paul McCartney, Bruce Thomas (Elvis Costello & The Attractions), Tom Petersson (Cheap Trick), and Motown.

“Long Distance Telephone” https://youtu.be/lJz-aW9X-1U

“Broken Promises” https://youtu.be/0VPHUvxqgNA

“Bittersweet”  https://youtu.be/SFTN-QUKs3w

By Robert Jenkins “Austin Underground Vol. ll”

Oddly … but somewhat fittingly, Tarantula Mountain gets categorized locally as a “Doom” band.

Are they heavy? Sure! Do they rock hard? Absolutely and without question! 

And yet, when I listen to them – I hear bits of melody and groove that remind me of 1990s indie pop (albeit just a bit heavier) and sometimes the catchy grooves of Duran Duran, or even The League of Gentlemen. 

Through it all Tarantula Mountain is anchored by the solid foundation of Jasmine Jew – laid out on her trusty new Rickenbacker 4003. 

On stage, Jasmine utilizes an Ampeg SVT Pro4 and an SWR 410 cabinet with a few tasty pedal options to enhance that classic Ric – Ampeg growl. In the studio? She just goes right into the board -as it should be IMHO! 

Jasmine began playing very recently in 2013, proving that it’s never too late to pursue a rock and roll dream. And with a position working at the Austin School of Music she has the unique opportunity to learn extraordinary musical skills in a welcoming environment.  

When asked what she treasures most about her vocation, Jasmine replies “I really love working with and encouraging girls and women of all ages to play music.” This bassist revels in her role to inspire and educate the next generation of players. 

In addition to tenure in Tarantula Mountain, Jasmine is working on a true “solo” effort – composing and playing all the instruments. She notes that it may take awhile – but the journey is most of the fun, and she wants to get it right.  

Tarantula Mountain can be seen and heard regularly in the Austin club scene and frequently in north Austin at Anderson Mill Pub.  

Jasmine’s favorite bassist is John Taylor of Duran Duran!  

Check out  Tarantula Mountain’s newest singles…

“Kintsugi” https://youtu.be/bxo_ZxffPwM

“For Once” https://youtu.be/0jCwxkKvN_U

Bass lessons from Trevor Bolder – soon to be a Spider from Mars! Never get uptight with an upright! Timing is everything in the music business….From Terminal Studios in beautiful downtown Bermondsey, dig “A Conversation with John Bentley! Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Polott: Editor. Special thanks to Joel McIver!

By Joe Gagliardo

Derek W. Brand had been listening incessantly to Jimi Hendrix since early in his teens, in particular, side one of the iconic guitarist’s legendary performances as captured on the historic Monterey International Pop Festival LP.

One day, Derek flipped the record over to side two, and when he heard Otis Redding’s live version of “Try A Little Tenderness,” and Donald “Duck” Dunn, he decided to play the bass guitar.

Within a few years, after responding to an ad in a music store, Derek was playing professionally with older, more seasoned musicians. It was an experience that prompted a shift in his focus from soul / rhythm and blues music to roots and Americana music of The Band, and similar artists.

Looking to study music in depth, Derek enrolled in the Chicago Music College, however he was forced to study piano as the school did not yet have a curriculum for the electric bass.

A chance encounter with Chuck Rainey led Derek move to California where he became a student in the first class of the Bass Institute of Technology (BIT). Derek studied with Rainey, who served as BIT’s first director.  Note that BIT was among the first schools in the country to have a full-time curriculum dedicated to the bass guitar.

Returning to Chicago, Derek was playing with Jim Desmond, who was popular in local music circles. This choice gig afforded Derek the opportunity to share stages with U2, Captain Beefheart, John Cale, Nico, and other notable national and international acts.

After working with Desmond, Derek commenced did an eight-month run with a show band, playing four to six sets a night, six days a week.  Derek credits this time as a significant learning experience.

In 1983, as the show band was concluding their engagements, Derek and a high-school friend by the name of Nicholas Tremulis, began a collaboration which continues to this day, and spans about a dozen album releases, including two for Island Records, and scores of live performances.  Nicholas Tremulis remains among the most prolific and active songwriters and performers to come out of Chicago.

Although the band has gone through a few changes over the years, the NTO’s continuity of core of musicians still make them the among the premier ensembles on stage and in the studio.

Based on the strength of the band’s musicianship, the Nicholas Tremulis Band / Orchestra has performed a series of shows as the back-up band for a number of artists, including, Rick Danko (The Band, solo), Peter Wolf (J Geils Band, solo), Willie Nile, Blondie Chaplin (Beach Boys, Rolling Stones, solo), David Johansen (New York Dolls, Buster Poindexter, solo) Hubert Sumlin (Howlin’ Wolf), Maceo Parker (James Brown, solo), and Charlie Sexton – among many others.

As I, Joe Gagliardo, am witness, the term “back-up band” does not describe the experience!  Derek and the band absorb the artist’s music so deeply that they are at one with the performer.  If you didn’t know, you wouldn’t know!

Derek has also maintained a busy schedule with projects such as playing “house music” along with producing and playing bass with The West Sidewinders.

Derek’s playing style is influenced by Willie Dixon, Duck Dunn (Booker T & The MGs), and other players, most of whom started on upright.  Not surprisingly Derek’s sound is rooted in early Chicago soul / rhythm & blues / blues music, and Stax records. He plays to serve the song and recognizes that what he plays touches the other musicians in the band.

Brand’s brand of playing style has also been affected by the fact that he has worked as an engineer in recording studios and run stage monitors for live shows.  Over the years, Derek has played numerous instruments, including his 1966 Fender Jazz bass, and a 1962 Fender Jazz bass which he removed the frets and had the neck epoxied. Sound familiar? If not, refer to Jaco!

Derek’s go-to bass for the past fifteen years is a Lakland double-pick up hollow body, which he tried at the urging of fellow band member and multi-instrumentalist, John Pirucello, an owner of Lakland.

If you get the chance, catch Derek and the Nicholas Tremulis Band / Orchestra live.  It’s a show you don’t want to miss!!!

Listen to the Brand…  

Nicholas Tremulis Orchestra with Billy Corgan and Bun E. Carlos, playing Roxy Music’s “Out of the Blue” https://youtu.be/tIJKvhtWM4Q

“Give Me Tomorrow” by Willie Nile and The Nicholas Tremulis Orchestra https://youtu.be/RFASYU87xEs

The Nicholas Tremulis Orchestra with Charlie Sexton https://youtu.be/lMPyuJ8uyCI

The Nicholas Tremulis Orchestra with Alejandro Escovedo https://youtu.be/rYJWuykY9v0

A “short” list of Derek Brand’s Credits: Charlie Sexton, Lonnie Brooks, Sugar Blue, Ivan Neville, Rick Nielsen, Alejandro Escovedo, Billy Corgan, Blondie Chaplin, Sir Mack Rice, Bob Mould, Chris Whitley, David Amram, Jeff Tweedy, Jay Bennet, Bun E. Carlos, Liz Carroll, Marianne Faithful, Graham Parker, Steve Earle, Sonny Landreth, Ronnie Spector, Hubert Sumlin, David Johansen, Mavis Staples, Ian Hunter, Kurt Elling, Peter Wolf, River Phoenix, Maceo Parker, and Rick Danko, to cite a few!

Derek’s Weapons of Choice: Lakalnd Hollow-body bass, Ashdown ABM 500, SWR Goliath Cabinets (Various), Polytone Mini Brute III, Retrospec DI.

Derek’s Influential Albums List: Monterey Pop – the Otis Redding side Natty Dread – Bob Marley and The Wailers Graham Central Station – any record 88 Great Original Motown Hits Jazz Winds From A New
Direction – Hank Garland

Derek’s Favorite Bass Players: Duck Dunn, Aston “Family Man” Barrett, Larry Graham, James Jamerson and Jimmy Garrison.

By Joe Gagliardo

Chicago’s Cryan’ Shames have long been known for their incredible harmonies, but they’ve also had incredible bass players in their line-ups, including Dave Purple and Isaac Guillory.

And the stories behind those two bassists are equally incredible….

Unfortunately, Purple and Guillory are no longer here to tell their stories, however Tom Doody, The Shames’ lead singer is alive and well- and he has shared his insights.

Among the aspects that make Tom’s perspective so intriguing is that he firmly believes that the bass propels what the singer sings and is in tune with the melody of the song, to the extent that Tom can easily hum the bass line of every song the Shames ever played, original or cover!

Dave “Grape” Purple was a classical keyboardist. He first picked up his brother’s bass a day before his audition with the Shames.  With a melodic approach to the instrument, he nailed the audition and less than seven months later, Dave was recording songs with driving passages on his Hofner violin bass.

Check out the band’s first LP on Columbia Records entitled Sugar & Spice and the ascending and descending bass melodicism on tracks including “Sugar and Spice, “I Wanna Meet You,” and the driving grit of “Ben Franklin’s Almanac.”

“Sugar and Spice” https://youtu.be/Fe7RlzkVS3U

“I Wanna Meet You” https://youtu.be/dY7fJv4nMy4

“Ben Franklin’s Almanac” https://youtu.be/KBBuL3yeo3M

However the stress of touring was more than Dave wanted to endure, and he left the band following their debut release.

Yet Purple forged a successful career as a recording engineer with the Stax / Volt recording studios, working with numerous soul greats. Dave earned a Grammy Award for his engineering on Isaac Hayes’ legendary Shaft LP.

Needing a replacement fast, Tom thought Isaac Guillory would fit the bill!

Though Guillory is pictured here with a Fender Telecaster bass, check out Isaac’s lines which were rendered on a Guild hollow-body, propelling “A Carol for Lorelei,” “Mr. Unreliable” and the beauty of “I Was Lonely When.”

“A Carol for Lorelei” https://youtu.be/W-leTE-j_fw

“Mr. Unreliable” https://youtu.be/nb-tQbDYywE

“I Was Lonely When” https://youtu.be/tLP6Yn5gdQ8

According to Tom, in addition to being fine musicians “Grape” and Isaac were great people, and it was great to have them as part of the Shames’ family.

Coda: Big thanks to Tom Doody for sharing this information with us, and you can still catch the Cryan’ Shames as part of the Cornerstones of Rock show featuring many of the Chicago 60’s bands, as well as performing individual shows.