Courtesy of Sandberg Guitars

Though he plies an upright in the video clip, his sleek electric bass harmonics and groove passage on the massive 1987 “sophisti-pop” hit “Mary’s Prayer” https://bit.ly/1wuI4KX with Meet Danny Wilson underpinned a timeless tune of its era – dare I say “standard.”

A busy session player who currently anchors Simple Minds, Gerard “Ged” Grimes is also a producer – composer for television , film, and video games (Earthworm Jim 3D, Enter the Matrix, Shrek 3, Amplitude and Quarrel); a sideman for noted Gaelic artists Kathleen MacInnes, Mackenzie, and Ellidh Cormack, and music business entrepreneur.

 

Ged is an endorser of Sandberg guitars and Mark Bass amplification.

 

Ged on stage with Simple Minds

“Big Music” https://youtu.be/mzpp8h_Vi2M

“Sanctify Yourself” https://youtu.be/ntYEE5ix2L0

“Waterfront” https://youtu.be/2VXGK_HHCkQ

 

 

Randy Jo, a dandy persona with mutton chops and fanciful headwear, plied brazen funky, staccato lines in the service of Johnny Winter as the guitar icon switched gears from blues to a more soulful  mainstream line-up which sometimes included Rick Derringer, keys, horns, and backing vocalists.

 

Mr. Hobbs, who was a member The McCoys (“Hang On Sloopy”/ 1965) with Derringer, anchored such seminal sides as Johnny Winter And (1970), Still Alive and Well (1973), and Saints & Sinners (1974) among others, and was featured on Ronnie Montrose’s Jump On It (1976). Working with a plectrum, Hobbs rendered a perfect balance of treble and bottom in the studio and on stage. His main weapons of choice were Fender Precision, and Dan Armstrong basses. 

 

Randy Jo Hobbs Sound & Vision…

Johnny Winter:

“Rock and Roll Hoochie Koo” in ’71 at a Backstage Jam. https://youtu.be/o5R_7unuvPI

“Still Live And Well” https://youtu.be/mb2frZOA1Fw

“Rock and Roll People” (John Lennon) https://youtu.be/Evaw2APwUK0

Randy Jo and Ronnie Montrose:

“Let’s Go” https://youtu.be/9p35aVdBZr8

“Jump On It” https://youtu.be/jZCo1u3QQ8s

Randy Jo lip-synching “Hang On Sloopy” with The McCoys https://youtu.be/DO2Y2sGZ1dk

 

Courtesy of Johnny Winter Com

Courtesy of Mark Bass

By Thomas Semioli

Supporting a guitar icon is a daunting task, especially in the blues rock genre wherein solos are oft interminable, and the repertoire is frequently given to songs which are more improvisatory vehicles than compositions.

 

Which brings us to Tommy Shannon, who anchored two of rock’s most influential blues guitarists: Johnny Winter and Stevie Ray Vaughn.

 

Shannon met Johnny at The Fog in Dallas in 1968, forming the Progressive Blues Experiment which waxed one indie album before Winter inked a then record deal with Clive Davis and Columbia. Tommy backed Johnny on his debut self-titled platter, appeared with Winter at Woodstock, and helmed Second Winter (1970). When Johnny began his association with Rick Derringer, Shannon’s services were no longer needed as the guitarist/producer favored his rhythm section of bassist Randy Jo Hobbs, and Derringer’s brother Randy. For the ensuing decade, Shannon played in various bands with moderate success.

 

 

Once again, The Fog played a major role in Tommy’s life wherein he developed a relationship with an emerging guitarist who needed a bassist: Stevie Ray Vaughn. With drummer Chris Layton, SRV’s backing band was dubbed Double Trouble. Working first as a trio, then expanding to a quartet with keyboardist Reese Wynans, SRV & Double Trouble emerged as one of the most popular blues bands of all time, waxing platinum sides, playing to large audiences, and turning a new audience on to the blues in an era of sizzle over substance MTV.

 

Following SRV’s untimely passing, Shannon kept busy – auditioning for the Rolling Stones upon Bill Wyman’s retirement, and collaborating (often with drummer Layton) with such high profile artists as Eric Clapton, Susan Tedeschi, Little Richard, Hubert Sumlin, Jeff Beck, Jimmie Vaughn, Eric Johnson, Charlie Sexton, and Doyle Bramhall II to cite a few.

 

With Johnny, Shannon skillfully embellished Winter’s 12-bar blues forays with chords and rhythmic variations rendered with a warm, legato touch.

 

With Vaughn, Tommy stuck to the 1 / 3 / 5 / b7 modus operandi (tuned down to Eb)  as Stevie was a Chicago-blues devotee.

 

Tommy’s weapons of choice include Fender Jazz, Fender Precision, MusicMan Stingray, and Yamaha basses. Shannon was inducted into the Rock and Roll Hall of Fame as a member Stevie Ray Vaughn & Double Trouble.

 

Tommy Shannon Sound & Vision

Johnny Winter, live in Copenhagen 1970 https://youtu.be/eNYDHZZSXIY

SRV & Double Trouble, live “Texas Flood” Austin City Limits https://youtu.be/evjMjpd4PNM

 

Courtesy of Columbia Records

Courtesy of Jethro Tull Dot Com

 

He forged an indelible identity on one of the most innovative and influential rock ensembles of any generation: Jethro Tull.

 

The first in a long line of bassists who worked under the auspices of Ian Anderson; Glenn Douglas Bernard Cornick anchored Tull’s most enduring early collections: This Was (1968), Stand Up (1969), and Benefit (1970).

 

Judging from the photographs that have been published over the years, Glenn utilized a wide array of basses, ranging from a battered graffiti laden reverse neck ’62 Fender Jazz to various Gibson instruments (Thunderbird, EB-3), to cite a few.

 

Regardless of his tools, Glenn’s phrasing, tone, and approach afforded him instant recognition as his lines were simultaneously supportive and melodic. 

 

The rhythm section of Glenn and drummer Clive Bunker were the driving force beneath Tull’s signature meld of blues, jazz and progressive – these cats could swing and rock at the same time.

 

Glenn Cornick Sound & Vision with Jethro Tull…

 

“Bouree” https://youtu.be/z6ZJGaT30wk

 

“Back to the Family” https://youtu.be/a3uqdoJxJ50

 

“Teacher” https://youtu.be/NyLPX-YhpLo

 

“My Sunday Feeling” https://youtu.be/nzjp-cFkNoE

 

 

KYBP Adjunct “Il Professore” Tony Senatore’s Cornick Clinic 

Explanation of Jethro Tull’s “Bouree” https://youtu.be/oTrMIuFltEQ

 

 

Working on “Bouree” https://youtu.be/XHEsfehUK-Y

 

Tony Senatore’s Complete Rendition of “Bouree” https://youtu.be/aA08zaXmbH8

Tony Senatore’s rendition of “Inside” https://youtu.be/oAVDpSpNh4A

 

 

Tony Senatore’s rendition of “Living In The Past” https://youtu.be/cNfV5RgNrg4

 

 

Tony Senatore’s rendition of “Nothing Is Easy” https://youtu.be/9ppRo_8a2sQ

 

 

Tony Senatore’s rendition of “Nothing to Say” https://youtu.be/tHoj47W1aUg

 

 

 

Following Glenn’s departure from Tull, which was never fully explained, Cornick formed prog-rock collective Wild Turkey with guitarists John Blackmore, Graham Williams, vocalist Gary Pickford, and drummer John Weathers. 

 

 Glenn with Wild Turkey on their debut slab, aptly titled Wild Turkey – waxed in 1972 https://youtu.be/qsEU1QfF9Y0

 

Despite critical acclaim Wild Turkey folded after two releases, and Glenn entered into a collaboration dubbed Paris, a decidedly hard-rock trio with ex-Fleetwood Mac member Bob Welch and former Nazz drummer Thom Mooney, and later, for their second slab drummer Hunt Sales.

 

Once again, despite critical acclaim and extensive touring, Cornick’s ensembled folded after two releases.

 

Glenn with Paris “Pale Horse Pale Rider” https://youtu.be/kY-xYPEb0j8

 

In his later years, Glenn -whom Anderson noted was the only member of Jethro Tull who maintained his signature appearance as he aged – worked in assorted Jethro Tull repertory ensembles with his former bandmates, participated in a Tull reunion with Anderson, and also reunited on occasion with Wild Turkey, in addition to other musical projects. Cornick passed in 2014.

 

Ian Anderson’s tribute to Glenn Cornick, courtesy of Drew Cornick https://youtu.be/GObmgmmjrts

 

 

Courtesy of The Stranglers Co UK Com

Armed with a Fender Precision, Rotosound round-wound strings, a HiWatt amp, and a background in classical guitar; bassist, vocalist, composer, producer Jean-Jaques Burnel has anchored the legendary post-punk, alternative rock icons The Stranglers since their inception in the 1970s.

An exceptional melodic and pocket player, Burnell draws from many influences spanning funk, ska, old-school classic rock, dance, electronica, blues, and reggae.

An early adopter of Trace Elliot amps, J.J. now endorses Ashdown with his signature JJ500 rig. Among his weapons of choice aside from Fender include the Yamaha BB2000, and Steinberger L2.

John Shuker created a J.J. Signature Bass which he now uses.  https://shukerguitars.co.uk/basses/j-j-burnel-signature-bass/

 

With The Stranglers:

“Skin Deep” https://youtu.be/aw9mEFn38to

“Golden Brown” https://youtu.be/z-GUjA67mdc

“Always The Sun” (Dig J.J. and his Steinberger XL https://youtu.be/8dEySTzQ6oc

“Do You Wanna” https://youtu.be/ctO4cX8SPJ4

“Longships” https://youtu.be/DoVPeHS03zg

“Sha Sha  a Go Go” https://youtu.be/-q3erBndoww

“No More Heroes” https://youtu.be/2tfy8f9lDD0

“No Mercy” https://youtu.be/QzrciavctzQ

“Peaches” https://youtu.be/j2w0rbp6J9Y

J.J. Solo

“Euroman Cometh” https://youtu.be/ysWp2FkZ9cc

“Un Jour Parfait” https://youtu.be/9NtknlcTKLc

With Pat DiNizio

“124 MPH” https://youtu.be/4E1uNcoehw4

 

Courtesy of John Illsley Com

 

Bassist, pub-owner, singer, painter, band member, recording artist, TV presenter, producer, and multi-instrumentalist John Edward Illsley anchored Rock and Roll Hall of Fame ensemble Dire Straits for the entirety of their extraordinary career which spanned 1977 to 1995.

 

Given the presence of world class guitarist, songwriter Mark Knopfler, Illsley deftly worked the pocket with a trad tone in support of his bandleader – and they managed to sell over 100 million albums.

 

In 2005 John began performing and recording with Cunia, and Irish Celtic Rock Group. Among John’s weapons of choice include MusicMan StingRay, and Fender basses.

 

A prolific solo / collaborative recording artist, John has waxed nine slabs and runs East End Arms pub https://www.eastendarms.co.uk/ was has been cited among the “Fifty Best Pubs Around Britain” according to The London Times.

John Illsley Sound & Vision

 

With Dire Straits

“Skateaway” with Jayzik Azikiwe as the “roller girl.”  https://youtu.be/vcwl-Q7pAtY

“Money for Nothing” with Gordon Sumner https://youtu.be/wTP2RUD_cL0

“Sultans of Swing” https://youtu.be/h0ffIJ7ZO4U

“So Far Away” https://youtu.be/YIHMPc6ZCuI

Solo John Illsley

“Long Shadow”  https://youtu.be/gYO6ihi7QuA

“Young Girl” https://youtu.be/srs261bUEqc

Courtesy of Doug Wimbish Com – Photo Karstens Staiger

By Thomas Semioli

“I’m not just a bass player, I’m a sound-system…”

What James Jamerson is to Motown, Doug Wimbish is to Sugar Hill Records….

Among the most versatile, accomplished, and influential players ever to pick up the instrument, Douglas Arthur Wimbish’s body of work spans funk, hip-hop, dance, rock, pop, metal, blues, soul and permutations thereof.

Inspired by the sounds of his 1960s youth blaring from AM/FM radio – Sly Stone, Miles Davis, and George Clinton – Doug immersed himself in music theory studies at Hartford Conservatory. At Jackie McLean’s Artist Collective workshops, Wimbish began to collaborate with guitarists Skip McDonald and Barton Campbell, drummer Harold Sergeant, keyboardist Hubert Powel,l horn players Randy Boss and Otha Stokes as the Wood Brass & Steel ensemble.

With Skip, drummer Keith LeBlanc as the house band rhythm section for Sugar Hill Records, Doug commended to anchoring several watershed sides including Grandmaster Flash’s “The Message,” and “White Lines” to site two…and the rest, as they say is history.

With his Sugar Hill pedigree, Wimbish migrated to London in the early 1980s, founding TackHead – a highly acclaimed ensemble which was an innovative meld of industrial, hip-hop, hard rock, and electronica.  Though their commercial success was limited, they were role models for platinum selling rap metal rockers Rage Against the Machine, and Faith No More, among others.

In the UK, Doug’s visibility blossomed and he began to work on stage and in the studio with such high-profile artists including Jeff Beck, Mick Jagger, Seal, Madonna, Joe Satriani, Annie Lennox, Ron Wood, Billy Idol, Lauryn Hill, and Mos Def, to cite a few.

Doug replaced Muzz Skullings in Living Color in 1991 for several tours and slabs. A composer, solo recording artist, producer, and arranger, Doug is an exemplary soloist, pocket player, and melodic catalyst – his weapons of choice include Spector 4 and 5 string instruments.

Doug Wimbish Sound & Vision

Grandmaster Flash & The Furious Five “The Message” https://youtu.be/PobrSpMwKk4

Grandmaster Flash & The Furious Five “White Lines” https://youtu.be/HB-Kkvf5j5Y

Grandmaster Flash & The Furious Five “New York New York” https://youtu.be/Lecfn2D9Y94

The Sugar Hill Gang “Sugar Hill Groove” https://youtu.be/BZfz5VgsI0k

Afrika Bambaataa & James Brown  “Unity” https://youtu.be/16k-k29wA8Q

Madonna “Erotica” https://youtu.be/WyhdvRWEWRw

TackHead “Mind and Movement Control” https://youtu.be/GFmZsHLC1Wk

Living Color “Open Letter” https://youtu.be/aMJTGcG-sxc

Ron Wood “Testify” https://youtu.be/NP3u2A79yIg

Doug Wimbish “Revolution” https://youtu.be/jIEuonjB0Xc

 

Hail (hail) What’s the matter with your mind and your sign? And a oh, oh, oh-a Hail (hail) Nothing the matter with your head baby, find it, come on and find it…

 

He co-founded an ensemble of Native Americans whose music traversed pop, Cajun, rhythm & blues, Latin, and soul. The name Redbone is a Cajun term for a mixed-race person – all of the founding members were of mixed blood ancestry.

 

Redbone bassist, singer, composer, and multi-instrumentalist Pat Vegas honed his chops as a session player and sideman in Los Angeles in the 1960s.  Their 1973 Wovoka album, which contained their biggest hit, “Come and Get Your Love” also featured the track “We Were All Wounded at Wounded Knee” co-written by Vegas, however the song was banned from US releases due to its “controversial subject.”  

 

As noted by Vegas, the band referenced Cajun and New Orleans culture many times in their lyrics and arrangements, as evidenced on such tracks as “Crazy Cajun Cakewalk Band,” “Maggie,” “The Witch Queen of New Orleans,” and “Poison Ivy,” among others.

 

A member of the Native American Music Hall of Fame, nowadays Vegas continues as the sole founding member of Redbone.

 

Pat Vegas and Redbone Sound & Vision:

 

Crazy Cajun Cakewalk Band https://youtu.be/yaC_kX_kWs4

 

“Maggie” https://youtu.be/s91hvRs3_SY

 

“The Witch Queen of New Orleans” https://youtu.be/_Svb95SAOM8 

 

“Poison Ivy” https://youtu.be/xnbS0Xb8FaY

 

“Come and Get Your Love” https://youtu.be/OnJqFrVD3uE

 

 

“I’d say one of my favorite bass players was Pete Quaife because he literally drove the Kinks along”. – John Entwistle

Depending on which legend you deem true, it was the late Peter Alexander Greenlaw Quaife who rendered the landmark riff to “You Really Got Me,” hence the birth of heavy metal – and The Kinks – as we know them.

Akin to his contemporary, Sir Paul, the Kinks’ founding bassist was noticeably inspired by the jubilant dance hall music which permeated radio broadcasts of post-War Britain. Pete’s simple yet sturdy motifs brought muscle to the Kinks.

Said latter day Kinks bassist Jim Rodford to this writer, the Kinks were the best live band of their era – better than the Beatles, Rolling Stones, and even The Who. Note that as the anchor of Mike Cotton Sound – Rodford toured with all those aforementioned ensembles and spoke from experience.

An early adopter of the Rickenbacker 4001 – as was Macca – Pete and original Kinks drummer Mick Avory flexed their collective rhythmic strength on the more raucous releases in the Kinks canon, most notably on 1965’s Kinda Kinks and The Kinks Kontroversy.

To my ears, Pete’s choice performances lie in the grooves of his final album with the band, the 1968 classic The Kinks are the Village Green Preservation Society – which had the misfortune of being released on the same day as The Beatles “White Album” wherein Ray Davies’ sentimental song-cycle sank into obscurity until Brit-pop rockers in the 1990s afforded it the attention it so richly deserves.

Weary of the brothers Davies constant conflicts and inner band turmoil, Quaife left The Kinks for good and briefly toiled with a roots rock ensemble that worked under the moniker of Mapleoak. Following one failed single (“Son of a Gun”), Pete left the music biz for good. He spent the last thirty years of his life as a graphic artist in Ontario, Canada and Denmark.

Peter Quaife Sound & Vision

With The Kinks

“You Really Got Me” https://youtu.be/fTTsY-oz6Go

“Where Have All The Good Times Gone” https://youtu.be/fTTsY-oz6Go

“We Are the Village Green Preservation Society” https://youtu.be/lc7dmu4G8oc

“Till The End of the Day” Live https://youtu.be/yGkUwSiJ7VQ

“All Day and All of The Night” https://youtu.be/F4DV-5d6a5g

“Big Sky” https://youtu.be/zOusKPeH7nU

With Mapleoak

“Son of a Gun” https://youtu.be/wGJ5RPCf43w

He anchored “Australia’s Beatles!”

 

Dingeman Adriaan Henry van der Sluijs aka Dick Diamonde was The Easybeats’ bassist for their entire career which spanned 1964-69 and one successful reunion jaunt in 1986.

Most noted for their hit “Friday On My Mind,” waxed with Shel Talmy in the producer’s chair when the lads migrated to swingin’ London in ‘67, Diamonde worked the pocket with a booming resonance symbolic of the era.

Dig Diamonde in the pocket with The Easybeats on the classic “Friday on My Mind” https://youtu.be/lpv12Oy5mXk

The band split following a pair of commendable slabs which forsook their powerful pop inclinations for heady psychedelic prog -which  failed to reach an audience.

Guitarist / composer George Young’s siblings Angus and Malcom went on to fame and fortune with AC/DC, and along with his Easybeats partner Harry Vanda, Young formed Flash and the Pan whilst Diamonde toiled in several New South Wales ensembles garnering scant attention.