By Joe Iaquinto

“There’s two people who I always wanted to be…a Beatle or a Beach Boy…” Peter Cetera

 

When I started playing the electric bass in 1971, back when it was the voice of popular music, there was no shortage of great players in any style. Carol Kaye, Joe Osborn, Bob Babbitt, James Jamerson, Richard Davis, Wilton Felder, Chuck Rainey – all of them had a huge influence on my playing and helped me to develop my own voice, but it was Peter Cetera who brought it all together for me.

 

The first Chicago song that I was aware of was “Saturday In The Park.”  Hearing that thunderous, melodic bass part four bars after the infectious piano intro was all it took.

 

Once I realized who I was listening to I went out and got all the available albums and immersed myself in the music.  “I’m a Man,” with its percussive picked bass intro, the upper register runs and ever-shifting feel of “Questions 67 and 68,” the disciplined simplicity of “25 or 6 to 4, ” and the bass tour de force that is “Dialogue, Part 1 and 2.”

 

The latter is from Chicago V, which is arguably one of the band’s finest albums.  From a bass playing standpoint, it is  Peter Cetera’s best work, in my humble opinion.  Armed with one of two early-sixties Fender Precision Basses (Cetera owned one and producer James William Guercio’s white P-Bass was used on the first album and here and there on others) and a slot-headed Gibson EB-3, Peter Cetera’s bass playing runs the gamut from progressive rock goodness (“A Hit By Varese”) to finger funk ferocity (“State of The Union”) to walking jazz expertise (“Goodbye”) and Pop Rock Royalty (“Saturday in The Park”).

 

But the real gem on Chicago’s first single disc offering, is the aforementioned “Dialogue, Part 1 and 2.”  To me, it is every bit as wonderful and important as Paul McCartney’s playing on “Something.”  Terry Kath and Peter Cetera share lead vocals on this Robert Lamm composition, which is a musical conversation between two people with different ideologies, and Peter’s bass part is brilliantly back and forth, supportive yet restrained, and then bursting with emotion when proper.

 

Ever-evolving but never in the way. I remember literally picking the record player arm up and playing this song over and over and over and over.  Chicago V is also the album I use when bassists look at me cross-eyed when I tell them that Peter Cetera was my bass idol.  One guy laughed and asked me if I liked any ‘real bass players.”

 

He apologized profusely after I loaned him that album.  One of Peter’s biggest influences and favorite bassists was the late, great Andy Fraser, a fellow Gibson EB-3 player, and you can hear that in his playing on songs like “Now That You’ve Gone,” and “State of The Union.”

 

Even as the albums started to become less daring and more commercial, like the following release, Chicago VI, Peter never dumbed it down and always played something catchy and interesting. Listen to what he does with “Just You N Me,” by James Pankow. It’s a classic PC bass part, complete with tasty fills and that perfect blend of percussive-yet-melodic sensitivity.

 

Peter would go on to record nine more studio albums with Chicago and tour almost non-stop in front of each release, never failing to play and sing his ass off.  Even in their darkest moments, like the huge disaster that was Chicago XIV, you would never hear him phone it in.

 

Blessed with one of the most recognizable and iconic voices in modern music history, his bass playing has often gone unnoticed and unheralded.  But those who know, know!  Just ask Will Lee and Nathan East if you don’t want to take my word for it.  I’m grateful to have become friends with Peter over the years and in 2012, while I was Peter’s brother Kenny’s bassist and MD, I got to perform with him and play bass and acoustic guitar on several of his biggest hits when he joined us onstage in Las Vegas.

 

For this poor kid from Sheepshead Bay, that was all the proof I needed that miracles do exist!  He also bought me lunch. Twice!  Monumental bassist/singer/songwriter and one hell of a great guy.

 

Till this day, I channel him in everything I play on the electric bass. It’s impossible not to.

 

Other than the songs I’ve already mentioned, I would highly recommend the following cuts for the total Peter Cetera bass experience:

 

Wake Up Sunshine (Chicago II) https://youtu.be/-7Qz2xPyJbc

 

At The Sunrise (Chicago III) https://youtu.be/o_X909h1x1k

 

All Is Well (Chicago V) https://youtu.be/jPVWCq8EWxY

 

Hollywood (Chicago VI) https://youtu.be/mmvUvYGzlgk

 

Something In this City Changes People (Chicago VI) https://youtu.be/_447n9Omc34

 

Hanky Panky/Life Saver (Chicago VII) https://youtu.be/6c3F46dz94A

 

Woman Don’t Want To Love Me (Chicago VII) https://youtu.be/VGaghf6nS6Y

 

Brand New Love Affair (Chicago VIII) https://youtu.be/L83kotQdhKs

 

Never Been In Love Before (Chicago VIII) https://youtu.be/3-mTxJy3qJA

 

Scrapbook (Chicago X) https://youtu.be/rbq2bap4xQk

 

Mississippi Delta City Blues (Chicago XI) https://youtu.be/fY3F6FP61os

 

No Tell Lover (Hot Streets) https://youtu.be/C_lOqptCAiU

 

Life Is What It Is (Chicago 13) https://youtu.be/-2ku4x4SKi4

 

Chains (Chicago 16) https://youtu.be/EVTWHcCeDH4

 

Stay The Night (Chicago 17) https://youtu.be/5LTWwkBNilI

 

I had the pleasure of doing a radio interview some years back with James William Guercio, the man who brought Chicago to California and produced their first eleven albums and  managed their career. He also played bass with the Beach Boys on tour and recorded a few tracks on the other side of the glass with Chicago. In fact,  that’s him playing bass on “If you Leave Me Now.” 

 

When I asked Guercio what it was like working with Peter in the studio, he told me that he never had to tell Peter what to play on bass and recounted a funny story about how he mixed the bass on those albums.  He said that he and Peter would take a cassette mix out to his car and if the plastic dashboard Jesus danced, the bass was perfect! 

 

I can go on forever about what an impact Peter Cetera’s bass playing had on me, his vast array of basses and amps, and more.  The bottom line (pun intended) is that he was  truly one of the best players of the era, and  his name should always be included when speaking of all the great singer/bassists, like Sting, Geddy Lee, Paul McCartney, Jack Bruce, Randy Meisner, and Glen Hughes. 

 

Anyone who writes him off as a balladeer is grossly uninformed and needs to join the Peter Cetera Bass Club!  Heck, even Jaco was a fan! Yes, that Jaco!  Peter told me that Jaco would come over to his house in Malibu and play his Ernie Ball Earthwood acoustic bass and told him  he wanted to sub for him in Chicago!   

 

I guess Jaco forgot about the singing part of the gig…

Photos Courtesy Ron Wood Com  / Jeff Beck Com

“I’m a Gemini, so I have a great time with the other guy!”

 

He is rightfully acknowledged as one of rock’s premiere slide guitarists with a gregarious personality to match his inimitable musical prowess.

 

However if Ronald David Wood had opted to set aside his signature Zemaitis guitars and other assorted six-strings full-time, he’d be known as a world-class rock bassist as evidenced by his work with the Jeff Beck Group (Truth, Beck Ola), and select tracks with his pal Rod Stewart (An Old Raincoat Won’t Ever Let You Down … aka The Rod Stewart Album, Gasoline Alley, Every Picture Tells a Story, Never A Dull Moment), and from various cuts throughout Faces and Stones slabs.

 

Woody never plays in the pocket, never quite outlines the changes in the traditional sense, and never renders a conventional bass line!

 

And when Woody has his own albums to do, he enlists the best players to support him including Flea, Darryl Jones, Willie Weeks, Shaun Solomon, Doug Wimbish, Jimmy Haslip, Jay Davis, Pops Popwell, and part-timer Keith Richards. 

 

Ron Wood Sound & Vision…(KNOWYOURBASSPLAYER Spotify Playlist) 

 

The Jeff Beck Group:  

 

“Plynth” https://youtu.be/cHdd4PVJYdo

 

“Shapes of Things” https://youtu.be/pcsrASSQs2o

 

“Rock My Plimsoul” https://youtu.be/yWcgV4ZpW9Q

 

Rod Stewart:

 

“Street Fighting Man”  https://youtu.be/2kdboWc-DwY

 

“An Old Raincoat Won’t Ever Let You Down”   https://youtu.be/qFt6RSJOtUU

 

“Maggie May” https://youtu.be/EOl7dh7a-6g

 

The Faces: “Three Button Hand Me Down” https://youtu.be/RF8O8uL4unI

 

Rolling Stones: “Emotional Rescue” https://youtu.be/U4dSIZ5QS7I

 

Courtesy of Colin Hodgkinson Com

 

A totally unique voice of the electric bass, Colin Hodgkinson’s career spans six decades of jazz, blues, rock, and experimental innovation. Colin’s chordal approach and harmonic forays make him an instantly identifiable player.

 

As an in-demand UK session cat and sideman, Hodgkinson is also a master pocket player and accompanist.  Among the highlights of his shows include solo performances wherein he sings and accompanies himself on bass.     

 

A bandleader, composer, producer, collaborator, bandmember, solo recoding artist Colin’s canon includes: Back Door, Alexis Korner, Cozy Powell, Whitesnake, Sir Mick Jagger, Peter Maffay, Ten Years After, Carl Palmer, Mick Abrahams, Spencer Davis, Jon Lord, Schon & Hammer, and Pete York to cite a very, very select few.

 

Among Colin’s weapons of choice include his ’62 Fender Precision, Warwick Thumb 5 String, Fender Bassman, Mark Bass combo, Rotosound strings, and Boss Digital Delay.

 

Colin Hodgkinson Sound & Vision…

 

“Blues for Jimmy Yancey” https://youtu.be/_hIcLKc03W0

 

“San Francisco Bay Blues” https://youtu.be/_gutdzlHK6E

 

Colin live with Back Door https://youtu.be/4gUhDrFqoBI 

 

 

 

By Roger Hitts

Ronnie James Dio became so revered as perhaps the greatest heavy metal singer of all time, that many fans didn’t realize he had a previous musical career – as a bassist!

 

Also a talented trumpeter, Ronnie –under his given name Ronald Padavona – began his bassist career in 1957 with The Vegas Kings, and curiously, he was solely on bass with the band already having a lead singer.

 

Ronnie also cut sides as a doo-wop crooner with The Red Caps and The Prophets.

 

Dig Ronnie in ’61 “An Angel is Missing” https://youtu.be/ew8MUT00aK0

 

By ’67 Ronnie was a singing bassist with The Electric Elves which became The Elves and eventually Elf.

 

Dig Ronnie on bass with “The Elves” in the early 70s rendering a Who medley: https://youtu.be/VYlPeOFpmC4

 

Ronnie plied his craft as a “melodic, keep-the-center anchor” on such rousing rock excursions as “Gambler, Gambler” from the 1972 debut of his band Elf, which later assimilated into Ritchie Blackmore’s fold as Rainbow in 1975.

 

Elf “Gambler, Gambler” https://youtu.be/5azqNz7f6Ho

 

Ronnie eventually he gave up his Elf bass duties to Craig Gruber in 1973 to concentrate on being the band’s enigmatic front man.

 

While Ronnie found his place in rock history as a vocalist, he never gave up his first love of the four-string – or his gear!

 

In 2018, eight years after his death, the Hard Rock Café in New York City held an auction of Ronnie’s wealth of basses, including a 1953 Gibson EB1 bass which he used to compose while working up demos, along with a 1961 Gibson EB-0 he used for live performances with Elf and a wealth of Gallien-Krueger cabinets and amplifiers.

 

And one great bassist begets another: Ronnie’s primary go-to player in various versions of Dio was the late, great Jimmy Bain, who also worked with Ronnie in Blackmore’s Rainbow.

 

Dig Jimmy and Ronnie “Rainbow in the Dark” live in ‘86 https://youtu.be/HwjUheA15Cs

 

By Joe Gagliardo

John Stirratt became friends with Jeff Tweedy when his band, The Hilltops, was opening shows for Jeff’s legendary band, Uncle Tupelo.  John ultimately joined Uncle Tupelo for its last album, Anodyne, and then Wilco.

Roughly twenty-six years later, John is the only original member of Wilco, other than Jeff–which says a lot about his great bass playing–inspired by Paul McCartney, David Hood (Muscle Shoals Sound Studio), Tommy Cogbill (American Sound Studio) and Joe Osborn (The Wrecking Crew).

John is a singer and songwriter, and that experience has helped define his bass playing, which is tightly in the pocket, with melodic interjections answering phrases, when it fits.

His go to on-stage basses are a 1970 Fender Precision, 1965 Fender Jazz, and an early-60’s Hofner Club Bass.  In the studio, he adds an early Gibson Les Paul signature bass, and a 1963 Guild Starfire bass, which can be seen and heard in Wilco’s latest video, “Everyone Hides.”

“Everyone Hides: https://youtu.be/P2Gbbd6pVMg

“Handshake Drugs” https://youtu.be/0vF1o6zg9vI

“Shot In The Arm” https://youtu.be/Iof2IAnQKwI

John’s melodic playing is also evident in Wilco’s “Shot in the Arm”  and “Handshake Drugs.” John also has a Joe Osborn model Lakland, that once belonged to Joe Osborn.

In addition to his work with Wilco, John has released 5 LPs with the Autumn Defense, where he and Wilco bandmate, Pat Sansone share the bulk of singing and songwriting duties. John Pirucello – of Lakland Basses and Hansen Guitars- is also involved in the project.

 Check out the beautiful “The Sun In California.” https://youtu.be/hjXYhk11mkM

John also teamed up with Nicholas Tremulis (projects under his name and The Fauntleroys), Bun E. Carlos (Cheap Trick) and Rick Rizzo (Eleventh Dream Day) in Candy Golde.

Their song “Trouble’s Coming Down” was picked as one of the Coolest Songs in the World, by Little Steven’s Underground Garage.

“Trouble’s Coming Down” https://youtu.be/OFFS-M6Ae1Q

One of the highlights of a Candy Golde live show was hearing John’s spot-on vocal and driving bass playing on The Who’s “Armenia City in the Sky,” which he reprised on Bun E. Carlos’ CD, Greetings From Bunezuela!

“Armenia City in the Sky” https://youtu.be/pywWRuoFtLU

Recently, John has teamed up with singer/songwriter Ray LaMontagne on his new LP, Part of the Light, and has performed live with Ray, as well.

Check out John’s subtle playing and beautiful vocal harmonies on “Such A Simple Thing.” https://youtu.be/GEtsbZXqASg

 

By Joe Gagliardo

Influenced by jazz and rhythm and blues bassists, Charles Colbert started playing his Fender Precision bass guitar in his church, and graduated to playing the “chitlin circuit” behind many successful singers and groups, including Jan Bradley (a protégé of Curtis Mayfield), The Contours and The Drifters.

 

In the early 60’s, Charles was a member of The Daylighters; a Chicago-based soul vocal group.  Their single, “Cool Breeze,” was produced by Johnny Pate, and was a regional hit.

 

“Cool Breeze” https://youtu.be/iNGgcoVLWXo

 

In 1965, Charles was playing bass with Gary and the Knight Lites.  The band released a number of singles on local labels, but chart success eluded them until they changed their name to The American Breed, who were among the first racially integrated rock bands.

 

In 1967, with Charles on bass guitar, Gary Loizzo (American Breed, Pumpkin Studios Production) and Al Ciner (American Breed, Rufus and Three Dog Night) on guitars, and Lee Graziano (American Breed and Rufus) on drums; took “Step Out of Your Mind” to the Top 10 in Chicago, and it climbed to # 24 on the national charts.

 

“Step Out of Your Mind” https://youtu.be/cC1cl3LiJeU

 

Their next single, “Bend Me Shape Me,” with its immediately recognizable drum and horn introduction, took them to # 5 on the Billboard Hot 100, and resulted in multiple appearances on national TV, including American Bandstand and The Joey Bishop Show, where they were presented a Gold Record for their million-selling record.

 

“Bend Me Shape Me” https://youtu.be/9vXD55sf6ZU

 

Their live shows were filled with great music, vocals, and energy including drummer Graziano, who simultaneously played the drums and trumpet! As they were sponsored by Baldwin, the band had an array of fine guitars and amplifiers, which, combined with their stylish suits, created a cool visual on-stage symmetry.

 

 

As the musical and social landscapes were changing, so did the music of the American Breed.  The band gravitated towards funky soulful sounds.

 

Check out Charles’ driving bass and singing on “Hunky Funky” and on the socially conscious “Room At The Top,” co-written by Charles.

 

“Hunky Funky” https://youtu.be/yXv92nYDD_0

 

“Room at the Top” https://youtu.be/zFVNdJlPQhg

 

This was the precursor to what was to become Ask Rufus, and later Rufus.  However, Charles, deciding he wanted to sing and perform more, became one of Rufus’ three dynamite lead singers.  Charles was joined by Paulette McWilliams (Marvin Gaye, Luther Vandross, solo) and Jimmy Stella (The Circus).  At that point, Willie Weeks took over the bass chair in Rufus.  Note that this was pre-Chaka Khan!

 

Since the American Breed and Rufus, Charles has worked with, and/or produced, a virtual who’s who of artists, including Harry Belafonte, Ahmad Jamal, Johnny Taylor, Stevie Wonder, Chaka Khan, Kurtis Blow, Pops and Mavis Staples, Peabo Bryson, Rufus Thomas and Oscar Brown, Jr.

 

Charles is currently producing an inspirational CD on the American Breed entitled “Epiphany”, and he is also currently part of a musical project that will build on the We Are The World concept, using all legendary Chicago singers and musicians.

 

True to its name, it is an effort to “Bring Back The Love” between people.   These days, Charles’ go-to basses are his vintage Fender Precision and Jazz basses.

 

By Joe Gagliardo

In the early 80’s, after the explosion of punk, power pop and new wave, Chicago experienced a renaissance of soul/funk/R&B music.

Although it had never gone away, it had not been very visible in the clubs, or on the airwaves.

Enter Amuzement Park Band (“APB”), with a horn section, and songs that dripped with funk n’ soul.  The band consisted of many veterans of the Chicago music scene, and most of the members of APB had played together for years as the back-up band for The Impressions, and then Tyrone Davis.

The band was anchored on bass by Grammy-nominated artist Paul Richmond, who not only inventively plays the pocket, but is a successful songwriter, having co-written, with Producer Leo Graham, Tyrone Davis’ 1978 hit “In The Mood,” which peaked at No. 6 on the Billboard R&B Chart.

“In The Mood” https://youtu.be/p2N7WFKwiaQ

Paul and Leo Graham also co-wrote “Shining Star” forThe Manhattans, which peaked at No. 4 on the Billboard R&B Chart, No. 5 on the Billboard Hot 100 Pop Chart, and resulted in a Grammy for The Manhattans.

“Shining Star” https://youtu.be/6Uz6JzYAPi4

These successes preceded APB, but Paul’s songwriting and bass playing became part of the driving forces of APB.

Paul started playing bass in high school, and his influences include Verdine White (Earth, Wind & Fire), Larry Graham (Sly & The Family Stone and Graham Central Station), Stanley Clarke (solo and Return To Forever), Jaco Pastorius and James Jamerson (Motown).

Check out Paul’s fluid playing on APB’s “Make Up Your Mind” and “Share Your Love.”

“Make Up Your Mind” https://youtu.be/Z7LWLgU-tMo

“Share Your Love” https://youtu.be/Oe1W5msHn_U

Both of these songs are from their first LP, released in 1982, which also included another fine song written by Paul: “Do You Still Love Me.”

“Do You Still Love Me” https://youtu.be/-HSXQe_iaHQ.

Watching APB live in the clubs was a real treat, they were either creating a dance party, or putting the audience in a trance with the soulful songs like “Do You Still Love Me.”  APB had a follow-up LP in 1984, All Points Bulletin, produced by Hawk Wolinski of Rufus, that was released on Atlantic.

The single “No” from this LP was also a Richmond composition.

“No” https://youtu.be/ISmCz6a7RRI

After APB, Paul has played in multiple bands, and produced many musical acts.  One of his current projects is playing bass with the band Champaign, who had hits in the early 80’s with “How ‘Bout Us” and “Try Again.”

Paul played bass on those hits, as well.  Some of Paul’s recent production activities include Amuzement Park Revised, a tribute to deceased former members of APB.

 Also, Monkey See, Monkey Do, which is a tribute album to the great Johnny Guitar Watson where Paul, playing guitar and bass, combines covers with originals written in the Johnny Guitar Watson style.

By Joe Gagliardo

In the mid-1960’s, as bands were popping up in cities all across the USA, one of the bands which garnered significant airplay and attention in Chicago were The Buckinghams.

My first recollection of seeing an actual band walk into a venue carrying stage clothes in a suit bag was at a Buckinghams show in a local venue. It made a great impression on me, as I still remember it to this day, over fifty years later!

Influenced by the funk and soul of legendary Motown bassist James Jamerson; James Brown bassist Bernard Odum, who anchored “The Godfather of Soul” from the late 50’s to the late 60’s; and the melodicism of Paul McCartney – Nick Fortuna laid down the bottom then, and he remains the Buckinghams’ bassist to this day!

The Odum and McCartney influences can be heard on two of the band’s early singles.

Check out Nick’s driving descending bass line on “I’ll Go Crazy.” https://youtu.be/FmHZmrOn6Pg

And his work in the pocket on “I Call Your Name.” https://youtu.be/2yZw3yIONLg

While those early singles on the local USA imprint earned the band regional recognition, that all changed when, in January 1967, the horn-driven “Kind of a Drag”  (also on USA) shot to #1 on the national charts!

“Kind of a Drag” https://youtu.be/a8SleA2Wq-Y

The Buckinghams on “American Bandstand” https://youtu.be/0474hCFkXcY

On a side note: the band’s producer, James Guercio, took his experience with the band’s horn-driven sound to produce Blood, Sweat & Tears’ first LP, and it helped define his subsequent work with the Chicago Transit Authority, which later shortened their name to Chicago and scored numerous platinum albums, Top 40 singles, and recognition in the Rock and Roll Hall of Fame.

The Buckinghams followed up their # 1 national smash with four more Top 10 hits after being signed to Columbia, including;

“Don’t You Care” https://youtu.be/S3iVXwR6JVU

“Hey Baby They’re Playing Our Song” https://youtu.be/Ic2N-Gb6J3E

“Mercy, Mercy” https://youtu.be/NS3KCG9t2EE

“Susan” https://youtu.be/jlih3TMsm8M

Their phenomenal chart success led to multiple appearances on national television shows, including American Bandstand, The Smothers Brothers Show, The Ed Sullivan Show, The Jerry Lewis Show, Dean Martin Show, and The Joey Bishop Show.

American Bandstand https://youtu.be/czLjxAguItg

The Smothers Brothers https://youtu.be/YZFu03767Fs

Nick can be seen in TV clips playing a Hofner violin bass, or an Epiphone, however his bass of choice for live performances for the longest time was a Fender Precision bass. 

At the beginning of 1971, The Buckinghams run had come to an end.  Fast forward to the early 1980’s, and The Buckinghams reformed for an appearance at ChicagoFest.

In between 1971 and the reformation, Nick played with numerous bands, including funk bands Crystal, formed with Billy Corgan, Sr. (father of Billy Corgan of the Smashing Pumpkins), and Kracker, a Latin funk band that had its own history, including an opening slot on the Rolling Stones tour.

Since The Buckinghams reformed, they have been a constant force on the concert scene, including being regularly featured as part of the Happy Together Tours.

Check your local listings, and you will be able to catch The Buckinghams in your area, or on a cruise, with Nick’s soulful and R&B influenced bass chops, propelling the songs.

For several years, Nick has been playing a hot-rodded Ibanez 5 string bass, with EMG pick ups and electronics, usually through an Ampeg SVT.

“Mercy Mercy Mercy” at the NYCB Theater Westbury: https://youtu.be/iOmQJEfBUUU

In addition to their earlier releases, The Buckinghams have continued to have their hits re-issued on compilations, and they have continued put out new music, including a Holiday collection.