A bassist, composer, poet, author, performing and recording artist – amid other endeavors, Amy Madden is a fixture on the New York City rock scene. She is among the most respected and in-demand local bass players around – and it’s been that way for decades and counting! Her miles long list of credits and associations on stage and on record are exhaustive: Joey Kelly, Alan Merrill, Jon Paris, John Lee Hooker, The Shivers, Adam Bomb, Ricky Byrd, Dave Donen, Jimmy McElligott, Johnny Winter, Elektrik Skin, The Gift, Bobby Keys, Jimmie Johnson, Johnny Thunders, Dweezil Zappa, John Campbell, Zonder Kennedy, Bill Dicey, Steve Holley, Simon Kirke, Hiram Bullock, Charles Roth, Steve Conte, Rob Stoner, and Paul Butterfield….to cite a very, very select few. She never stops playing – and when you hear her stories, you’ll know why…

Dig Amy Madden Know Your Bass Player on Film Season Deux https://bit.ly/31BAxDZ

From the bright lights of Broadway, to the most renown music venues, recording studios, theaters, clubs, and stages large and small – Jeff Ganz is the among the top players in his profession. Though you wouldn’t know it based on his humility and subtle sense of humor as captured here in his KYBP profile, filmed in New York City. A gentle giant of the instrument – Jeff’s resume spans such diverse artists as Rita Moreno, Johnny Winter, Mark Farner (Grand Funk Railroad), Dr. John, Gerry Mulligan, Chuck Berry, and John Lee Hooker to cite very, very select few. The great ones always make it look so easy – that’s Jeff!

 

Dig Jeff Ganz in Know Your Bass Player On Film Season Deux! https://bit.ly/31OLuCv

 

“He can play like a bass player, not like a bass guitar player. There’s a difference, believe me. And the last thing I wanted was somebody that sounded like a bass guitar player, because all of Chuck Berry’s stuff is basically made for upright bass and a swing thing. So Joey comes in and I’m amazed. How do you that?! You know, I’ve been around, but…”  Keith Richards

Those are heavy words of praise from the co-founder, guitarist, vocalist, and co-principal songwriter of the Rolling Stones! And Joey Spampinato has equally heavy words of praise for all bassists: “I never heard a bass player I didn’t like!”

So, where did it all start for Joseph Nicholas Spampinato? There was always music playing in the Spampinato household, and Joey’s dad was a guitar player who showed him few things. However it was singing that got Joey rolling!

Spampinato grew up in the Bronx – a borough of New York City wherein doo wop music reigned supreme. It was a place where singers such as Dion were “Kings of the New York streets.”  When Joey was young and impressionable, he sang everywhere with friends- including apartment building hallways with voice enhancing, booming acoustics.  Joey also played alto sax in his elementary school band.  When Joey was thirteen years old, he was asked to join an acapella singing group with guys whose ages ranged from 16-21.

When Joey was fifteen The Beatles conquered America, and everything changed for Spampinato and his generation. Overnight, Joey’s goal became to play bass in a rock and roll band like Paul and The Beatles.  Though doo wop still had a presence, with songs such as “So Much in Love” by the Tymes, his acapella band was forced to rethink its strategy as “the times they were a changin.’

It was decided that the band would add a drummer and guitar player; Joey would play electric bass; one of the other singers would play keys, and the band which became known as The Seven of Us commenced to playing Top 40 hits.  The band released a single on Red Bird Records, wherein Joey co-wrote the A and B sides, “Jamboree” and “It’s Not Easy To Forget.”

“Jambouree” https://youtu.be/XdYeCV0PzQw

“It’s Not Easy to Forget” https://youtu.be/C9SWKYNpkqo

Given Joey’s history and the times that influenced him, it makes sense that in addition to Paul McCartney, Joey was influenced by the bassists which dominated 1960s pop radio: Donald “Duck” Dunn, Brian Wilson, James Jamerson, and blues legend Willie Dixon.

Among first bass lines that attracted his attention was from Frankie Lymon and the Teenagers’ “Why Do Fools Fall In Love.”  The bass work in particular influenced Joey’s sound – and has been traced back to either Abie Baker or Al Hall, both upright jazz players with the Jimmy Wright Band.

Frankie Lymon “Why Do Fools Fall in Love” https://youtu.be/2sAHiR0rkJg

In 1967, The Seven of Us were playing in Florida, and some of its members, including Joey, ended up merging with a few members of a band called Mersey-Beats USA, and that was the beginning of the New Rhythm and Blues Quintet.  And later “Quartet.”  NRBQ, or the “Q”, as it is lovingly referred to, became known for its live shows steeped in spontaneity, and an eclectic mix of rock, pop, country, folk, jazz, blues, and even Tin Pan Alley music.

The band’s debut album for Columbia in 1969 featured original songs spanning a wide range of musical styles, and included covers of Eddie Cochran and Sun Ra.

Dig “C’Mon Everybody” from the debut Q slab: https://youtu.be/cqfdr-6Vato

Joey spent the better part of the next four decades playing bass, singing and writing songs as a founding member of NRBQ. During that time, the band recorded multiple live and studio albums, as well as albums with Carl Perkins, Skeeter Davis, and the wrestling manager Captain Lou Albano.

Dig Q with Carl Perkins “Boppin’ the Blues” https://youtu.be/fYmwYWFgpNY

According to Joey, some of his favorite NRBQ albums are Grooves in Orbit, Message for the Mess Age, NRBQ (Rounder Records, 1999), and You’re Nice People You Are, a children’s record.  For about a decade, Joey had the pleasure of his younger brother Johnny playing in the Q after Al Anderson left.

How Does Joey Do It! Joey’s primary right-hand technique is to play with his thumb.  As I am also primarily a thumb player, I was wondering if his influence came from the same source as mine—seeing Brian Wilson play a Fender Precision bass with the finger rest below the G string.  It turns out that Joey started playing with his fingers, but he always wanted to emulate the sound of an upright, and he found he could achieve that sound by  playing the strings with his thumb while his hand acted as a mute down by the bridge.  Another contributing factor is his preference for flat wound strings.

 Joey’s playing is melodic, but he is a firm believer that “less is more.”  His goal is to attain the sound and tone he wants, and to play simple. He describes Duck Dunn as a “seminar in simplicity.” Says Joey “listen to everything he does, [Duck] plays just what is needed.”  He is also a fan of Willie Dixon for the same reason.  Joey views the bassist as “the equivalent of a catcher in baseball.  You need to be aware of everything going on, and adapt your playing to the players around you.”

 Joey’s Weapons of Choice: Joey’s basses have included a Japanese starter bass, a Klira violin-styled bass, a Hofner bass that was modified by having luthier G.L. Stiles replace the neck and pickups, and cut F holes into the body.  Unfortunately that bass was stolen years ago from a vehicle while the band was recording in New York, and has never been recovered….

For the first Q album, Joey played the G.L. Stiles bass, and a also rented Fender Jazz.  Then he started playing a Rickenbacker, which he later used on the Carl Perkins recordings. Through the seventies he played a bass made by G.L. Stiles, pictured on the back of their Workshop album.

In the early 80’s, Al Anderson showed up at rehearsal with a black single cutaway and single pickup Silvertone bass he had bought at a yard sale for $35.  Joey tried it, and immediately gave Al the $35!  That was the beginning of Joey’s preference for Silvertone and Danelectro bass guitars.

In the mid-1980s, while living in Nashville, Joey became a fan of the Jerry Jones double cutaway basses that were based on the Danelectro model, and he had two orange basses custom made. Those have been his go-to basses, though he’ll sometimes use his hand made Hoyt bass in the studio. While he prefers to play fretted basses while singing, Joey does have a fretless Danelectro, a gift from E Street bassist, Gary W. Tallent.

Joey’s old go-to amp rig was an Ampeg SVT.  These days he favors a Fender BXR 300 1×15 combo amp, with an extension cabinet, that gets him the warm tube and upright tone that is his signature.

Joey, Keith, and Chuck Berry: In the late 1980s, Keith Richards produced a documentary on his idol, Chuck Berry entitled Hail! Hail! Rock n’ Roll to celebrate the iconic rocker’s 60th birthday.  Comprised of a footage from rehearsals and a tribute concert starring Chuck, along with special guests Linda Ronstadt, Eric Clapton, Robert Cray, Bobby Keys, and Julian Lennon, among others, Keith chose Joey as the bassist after seeing the Q at the Bottom Line on the recommendation of drummer Steve Jordan. For the film, Joey played a white Jerry Jones Long Horn.

As Chuck Berry was notoriously volatile, Joey was prepared in the event he was called on the carpet.  Turns out that Joey learned one of the songs, just as it was played on the record, which included a walk-up bass line to the root note of the key.  When Chuck said he wasn’t playing the song right, Joey explained he had played what was on the record, but he was happy to play it any way Chuck wanted.  The next morning, Chuck came in, walked up to Joey, and said “Mr. Bass Player, YOU WERE RIGHT!”  It was a great experience being part of that band, and having the respect of Chuck Berry.

Dig Joey, Keef, and Chuck: “Nadine” https://youtu.be/5madtiLf7DI

Dig Joey and Keef rendering backing vocals for Linda and Chuck “Back in the USA” https://youtu.be/ERVLy-ltjHs

Much of Joey’s songwriting was for the Q, but his songs have been recorded by other artists.

Joey played on Bonnie Raitt’s LP Fundamental, which included “I Need Love.”  Shakin’ Stevens covered “Don’t She Look Good.” Darlene Love and She and Him covered “Christmas Wish.” Daryl Hall, in a tribute to former Hall and Oates’ bassist, T Bone Wolk covered “If I Don’t Have You,” which was one of T Bone’s favorite songs.

Bonnie Raitt “I Need Love” https://youtu.be/ByYD5L7F2qw

Darlene Love “Christmas Wish” https://youtu.be/HJr7HV1OZuw

Darryl and T Bone “If I Don’t Have You” https://youtu.be/-G4TOZqrJzk

Joey has many high points in his storied career. Recording an album with his hero, Carl Perkins; being in the same band for almost four decades; anchoring the Q and The Spampinato Brothers with Johnny; having Bonnie Raitt join the Q anytime they were in the same town; and having Keith pick him to be in the band for the Chuck Berry documentary.  Each of those events is huge yet there are more highlights Joey’s story…

Eric Clapton was among the artists who was a special guest in the Hail! documentary, and he and Joey hit it off.  In 1991, Eric hosted 24 Nights at the Royal Albert Hall, a series of shows where he played six nights of blues, six nights of hits, six nights with an extended band, and six nights with an orchestra.  Impressed with Joey’s musicianship, Eric had Joey play bass on the six nights of blues.

It was a treat for Joey to be part of the show with Eric Clapton, and other ace guitarists, but also, to be able to play at the historic Royal Albert Hall.

Another highlight was being invited to jam with Paul McCartney and his band at the Mill in England, where Paul rehearses and records.  Paul had previously told Joey that he should look him up if he is in England.  Joey reached out to Paul, and the next day, a car picked him up to take him to play with the man who inspired him to sing, play bass and write songs!

With all these great experiences, could one possibly think of anything more they’d like to happen to them?  YES! Being animated on The Simpsons!  Besides having many of their songs appear on the show, the Q may be the only band that ever appeared in an animated form as well as on camera performing the show’s theme song during the end credits.

NRBQ on The Simpsons https://youtu.be/6FP0HTMVl9M

These days, you can catch Joey playing again with brother, Johnny, in The Spampinato Brothers.  They have 3 rockin’ releases, Pie In The Sky from 2010, Smiles from 2013, and now Decorangements.  Information about the band and these CDs can be found at https://www.spampinatobrothers.com/

Dig Q on Night Music with David Sanborn “Wild Weekend” https://youtu.be/PQ5UlyBgHN8

Dig The Spampinato Brothers “Rocket in my Pocket” https://youtu.be/pBvVudD8xQ4

Check out Joey’s playing along with a brief description of his bass lines:

The Spampinato Brothers- “Japan” https://youtu.be/HweILbx17Ps “Keeping it simple. Let the song do all the talking. No French pastry needed.”

NRBQ-“Everybody’s Smokin” https://youtu.be/Z6PSKLdsOdc  “This song was written on stage as an improv by everybody, with Terry Adams making up words as we went along, and everybody on stage was smoking.  Al Anderson played a wild chord, and I was playing a spacey bass line.  By the time we were recording Message For The Mess Age, I wrote the bridge, and we recorded the song…”

NRBQ-“Like A Locomotive” https://youtu.be/qkXABTqVC2Q  “I play a moving bass line on the bridge that only touches on the root, and I weave my way around the chords.”

Joey’s Legacy:

Mike Berman, bassist: …been a Q fan since 1970. They used to play a lot of the clubs around the the Woodstock/Kingston NY area where I lived. Saw them dozens of times and also later when they played in NY City clubs. Joey was a huge inspiration for me. That Jerry Jones/Dano bass into the full SVT cabs delivered deep deep low end but never overpowering. His style is totally unique. I have followed him through his post-Q time with the Spampinato Brothers. Hoping to see Joey out playing again some day soon!

Sal Maida, bassist (Roxy Music, The Sparks, Cracker, The Runaways): Joey Stampinato’s bass technique is totally unique in that it is not only melodic but extremely percussive. Like an upright player slapping some genuine rock n roll patterns that is both retro and forward looking at the same time.

Jon Pousette- Dart, composer /recording artist: There are a chosen few in a place that hold a candle with Joey. Jamerson,McCartney, and many names I couldn’t possibly recall, but Joey’s place is in it’s own space of knowing, realizing and paying tribute to every song he touches. It’s good on a whole other plane. Original Q was a place few bands or players touch. His songs remain among my favorite of all time.

Check out the Joey Spampinato KYBP Photo Gallery by Beth Harrison!

 

This feature appeared in Huff Post, November 2017

Warning: This essay contains irony, humor, and instances of exaggeration with the intent to inform and entertain. Note that the writer is over the age of 55 and revels in his right to wax curmudgeonly.

We are the ones who serve the singer, the song, and the soloist. Though we do not possess the harmonic nor sonic range of a guitar, keyboards, horns and other wind instruments, nor the dynamics of drums –it is us who determine how a chord actually sounds – which, in essence – often determines whether or not you’ll like the artist, or the track. We are the only individuals on the bandstand and in the recording studio with that critical responsibility.

Our function is to make everyone around us sound better than they are. We keep the singers in tune, the pickers on course, and the arrangers, producers, sound technicians, and engineers from jumping off the ledge! In return, we garner the least amount of attention and acknowledgment from the masses – and sometimes our band mates. We are expected to do our job perfectly – one mistake or miscue can be fatal. On stage, a diligent bass player can rescue a failing band member – yet a failing bass player can be saved by no one.

To be a bass player is to exude skill, confidence, humility, patience, tolerance, and knowledge: very few are chosen, and fewer still are called!

You can fool a singer. You can easily dupe a guitar player. Be careful around keyboard players. Drummers are easy targets. Horn and string players are just happy to be here, there, or anywhere. But never, ever, dare bullshit a bass player!

Which brings me once again to the Rock and Roll Hall of Fame; worth the price of admission to read Pete Townshend’s handsomely scripted, hysterical multi-page diatribe aimed at a scribe who didn’t quite understand Quadrophenia, and to genuflect before John Paul Jones’ Alembic bass!

Once again, I congratulate the latest motely of Rock and Roll Hall of Fame nominees: Bon Jovi, Kate Bush, The Cars, Depeche Mode, Dire Straits, Eurythmics, J. Geils Band, Judas Priest, LL Cool J, MC 5, The Meters, The Moody Blues, Radiohead, Rage Against the Machine, Rufus, Nina Simone, Sister Rosetta Tharpe, Link Wray, and The Zombies.

As much as I respect Nina Simone and LL Cool J – they belong in the Rock and Roll Hall of Fame as much as Pele belongs in the Ice Hockey Hall of Fame. Neither Nina nor LL are major or even minor rock and roll influencers.

Link Wray is a no brainer. Rage Against the Machine and Eurythmics go into the Hall of Very Good. Bon Jovi goes in the Hall of WTF.

Sister Rosetta Tharpe? Not before Tommy Bolin, Rick Derringer, Rory Gallagher, Gary Moore, Tommy Tedesco, Chris Spedding, Al Di Meola, Steve Vai, Richard Thompson, John McLaughlin, Larry Coryell, Johnny Winter, Adrian Belew, Alan Holdsworth, Mike Stern, Frank Gambale, John Scofield, Greg Howe, Robert Quine, Robben Ford, Joe Satriani, Steve Morse, Hiram Bullock, Larry Carlton, Lee Ritenour and Mick Ronson. Just sayin’… cause I know better!

As a teen coming of age in the 1970s, I draped a poster of my beloved Chaka Kahn beside treasured enlarged images of fantasies Linda Ronstadt, Star Stowe (with a blue Rickenbacker), Farrah, and that awful dog poop brown George Harrison foldout from All Things Must Pass. Rufus featuring Chaka Kahn was a funk, soul band that didn’t influence any rockers, nor made records that even resembled rock and roll.

And I had no idea Radiohead made music – though I’ve seen photos of a few of the band members holding guitars and they have a guy who sits behind a drum kit. All the best to them!

You could argue that The Meters are a New Orleans R&B funk ensemble and not rock and rollers, however Keith and Ronnie love ‘em, and I dare not cross Stones nor Faces.

Kate, Depeche, Dire Straits, J. Geils, MC5, Moodys, Priest, and The Zombies have earned their Hall stripes. Let ‘em in and apologize that they were not granted entrance upon their first year of eligibility.

The Hall’s reasoning for inducting non-rockers – some blather about exuding the “attitude” of rock and roll – as attributed to Chic, Abba, Michael Jackson, and Madonna, among others, is bullshit with a side order of bullshit. Yes, there are elements of rock in some of their music, but they are not rock artists.

Rock, rock and roll is not an attitude, nor is it a fashion statement. It is an artform, and/or genre of music given to a particular set of practitioners.

When I encounter folks wearing rock and roll garb I am curious to inquire “what instrument do you play?” “Oh you don’t?” “Then take off the uniform Russell Brand!” I have great respect for our Armed Forces, but you won’t see me outfitted in military gear. I am a bass player, I earned the right to wear shades indoors.

Back in 2015 I scripted a Huff Post op-ed regarding bass players who deserve Rock and Roll Hall of Fame recognition.

I cited three prominent bass players who were excluded from the Hall despite the fact that the bands they played in and recorded with were enshrined; The Kinks’ John Dalton (“Lola,” “Celluloid Heroes,” Arthur Or The Decline and Fall of the British Empire, Muswell Hillbillies, Everybody’s in Showbiz ) and Jim Rodford (every record and tour from 1977 to 1994), and Doug Yule of the Velvet Underground (Velvet Underground, Loaded, Live at Max’s Kansas City).

Two bassists who played on Rock and Roll Hall of Fame members’ seminal recordings and ensembles and had a major impact on the careers of their bandleaders were also mentioned; Dee Murray from the classic Elton John Band, and Carl Radle from Eric Clapton’s 1970s groups and Derek & The Dominos.

And I made a strong case for six bassists who distinguished themselves with a myriad of Rock and Roll Hall of Fame artists as sidemen on landmark recordings, tours, and concert performances; Klaus Voorman, Kenny Aaronson, Harvey Brooks, Will Lee, Lee Sklar, and Herbie Flowers.

In 2016 I predictably followed-up with Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame in Huff Post.

Once again, I championed players who were excluded from the Hall even though their respective bands were enshrined: John York and Skip Battin of The Byrds; and Lamar Williams, David Goldflies, Allen Woody, and Oteil Burbridge of the Allman Brothers Band.

And I verified the amazing players who made great bandleaders, composers, producers, and recording artists even greater: Carol Kaye (Wrecking Crew), Tim Drummond (Neil Young, Bob Dylan, Crosby, Stills, Nash, & Young in various permutations); studio legend Chuck Rainey (Quincy Jones, Steely Dan, Laura Nyro, Aretha Franklin), Kenny Passarelli (Hall & Oates, Elton John, Joe Walsh, Daryl Hall), and Doug Stegmeyer of the Billy Joel Band (and Graham Parker’s magnificent Another Grey Area).

This year, we are being told that our Rock and Roll Hall of Fame votes count! Where have I heard this before? In the spirit of American democracy – and I emphasize “spirit” as America is effectively a bullshit democracy – I voted for the bands with the best bass players: Danny “Ace of Bass” Klein of the J. Geils Band, The Meters’ George Porter Jr., John Lodge of the Moody Blues, Ian Hill of Judas Priest, and The Zombies’ Chris White and Jim Rodford.

Once again, my latest selections are not bassists who are members of bands who I feel should be in the Rock and Roll Hall of Fame – these are sidemen and recording artists. Please do not return a rant to me that Andy Rourke, Steve Harris, Lemmy, or Peter Hook should be on this list! They go with their respective ensembles!

In reverence to the number “11” as immortalized in Spinal Tap, my eleven choices in 2017 are as follows: Jaco Pastorius, Stanley Clarke, Aston Barrett, Robbie Shakespeare, Marcus Miller, Willie Weeks, Rudy Sarzo, Bob Daisley, Pino Palladino, Joe Osborn, and Jerry Scheff.

Herein is my testimony:

Jaco Pastorius and Stanley Clarke: On his brilliant Underground Garage Sirius/XM show, Little Steven meritoriously explained to a younger generation the effect of The Beatles debut on The Ed Sullivan Show on a generation. He likened it to aliens landing in Central Park. Well, imagine if those creatures were two bass players! These two icons, who sound nothing alike, were masters in a genre known as Jazz Fusion, aka Jazz Rock. Fusion was a major force in rock music during the late 60s, and 1970s -though you wouldn’t know it thanks to revisionist journalism. Many rock reporters despised fusion because, as Frank Zappa noted they were “people who can’t write interviewing people who can’t talk for people who can’t read.” Frank was too kind, in my opinion.

Numerous jazz scribes were no better, especially jazz police nitwit Wynton Marsalis and his enabler documentarian Ken “I Never Saw a Fact I Couldn’t Omit or Alter to Please My Corrupt Corporate Sponsors” Burns – and that includes his baseball and Vietnam travesties. Jaco and Stanley expanded the language of the electric bass far beyond Leo Fender’s imagination. Listen to Jaco on Ian Hunter’s All-American Alien Boy (1976). Jaco’s work with Joni Mitchell; Hejira, Don Juan’s Reckless Daughter, Mingus, and Shadows and Light are all jazz rock classics. Listen to Stanley’s School Days (1976) and with Chick Corea’s Return to Forever. Listen to Jaco and Stanley on Al Di Meola’s Land of the Midnight Sun (1976). Not rock? Bullshit!

Jaco and Stanley’s collective influence is embedded in every bassist whether they realize it or not. I am old enough to recall when the electric bass was still considered the bastard child of the electric guitar and upright by the music establishment. When the old guard derided the instrument we simply responded with one of two words – Jaco! Stanley! And they knew we were right. When someone opines that a bass is easy to play since it only has four strings, kindly fit them for a dunce cap to warn the rest of us!

As jazz rock innovators, the late Jaco Pastorius and Stanley Clarke are deserving of Rock and Roll Hall of Fame honors as Performing and Recording Artists, and for Musical Excellence. Take your pick.

Aston “Family Man” Barrett and Robbie Shakespeare: Imagine a Baseball Hall of Fame sans Babe Ruth and Hank Aaron. The influence of reggae and its subgenres on rock and pop music, especially in the UK, is incalculable. Spanning Eric Clapton, The Clash, Living Color, PIL, Madness, The Police, Rolling Stones, Pretenders, Elvis Costello, Paul Simon, UB 40, Simply Red, Rush, No Doubt…the list of artists fueled by reggae grooves and sounds is exhaustive.

The two giants of the genre are Aston Barrett from Bob Marley’s Wailers, and Robbie Shakespeare most noted from the Sly & Robbie duo.

How on earth could the Hall enshrine Bob Marley and not The Wailers? What instrument fortified Marley’s melodies and libretto into a worldwide social and cultural phenomenon? I’ll give you a subtle clue – THE FUCKING BASS! And on Bob Marley’s official Rock and Roll Hall of Fame bio, there is no mention of Aston Barrett. Blasphemous! Bullshit!

Bassist Robbie Shakespeare along with his partner, drummer Sly Dunbar, are among the most influential rhythm sections in the history of pop music – and that includes rock. Akin to his mentor Barrett, Shakespeare introduced rock bassists to an expansive array of rhythms, tones, and overall approach to the instrument. And as for the rock artists he backed, just check out Bob Dylan’s comeback Infidels (1984), and tell me that Robbie didn’t augment the role of the bass – especially given that his bandleader on that date was not particularly known for grooves!

Aston Barrett and Robbie Shakespeare are deserving of Rock and Roll Hall of Fame honors for Musical Excellence.

Marcus Miller: Since he emerged as a first-call session cat, sometime around 1976 (that year again), Marcus Miller has anchored scores of seminal sides. You’ve heard Marcus every day for decades. With an instantly recognizable tone and a slap style that befits rockers, Marcus is another jazz fusion / jazz rock giant – and a disciple of both Stanley and Jaco.

Marcus’ extraordinary solo canon and collaborations with Miles Davis and David Sanborn are the innovative bedrock of jazz rock. His Sirius/XM show Miller Time is a college education on jazz, rock, soul, blues, and hybrids thereof – and you can dance to it. A prolific film-soundtrack composer and recording artist, among Marcus’s high-profile side gigs include slabs with Bryan Ferry (check out Marcus and Bryan at Live Aid 1985) and Donald Fagan.

If you had to give the Rock and Roll Hall of Fame Musical Excellence Award another name, call it “Marcus Miller.”

Willie Weeks: Don’t recognize that name? The Rolling Stones “It’s Only Rock and Roll.” David Bowie’s Young Americans. George Harrison. Rickie Lee Jones. Gregg Allman. Leon Russell. Eric Clapton. Rod Stewart. Steve Winwood. Joe Walsh. John Mellancamp. Aretha Franklin. Buddy Guy. Bobby Womack. Isaac Hayes. Ron Wood. Billy Joel, Chaka Kahn and Rufus together and solo. Randy Newman. B.B. King. James Taylor. Al Kooper. And the Doobie Brothers, to cite a ridiculous few.

Most of those artists are in the Rock and Roll Hall of Fame – and one of them, Al Kooper – should own the place!

If it were only for his bass solo on Donny Hathaway’s Live (1972) album for “Voices Inside (Everything is Everything)” Willie would be a legend. But that was just one night on the gig with Mr. Weeks! If you were to carve a Mt. Rushmore of bass players, get to work on Willie Weeks’ profile.

Willie Weeks deserves Rock and Roll Hall of Fame Honors for Musical Excellence.

Rudy Sarzo and Bob Daisley: We’ll never know how many rock and roll singles /45s, Eps, albums, downloads have been sold or streamed in the history of the genre, nor the overall concert and merch figures. However, my educated guess is that rock’s most potent subgenre is “heavy metal” aka “hard rock” and permutations thereof – however you may define its origins, physiognomies, and its artists.

Hard rock has always reigned supreme – and its neglect by the Rock and Roll Hall of Fame is rather curious. Hard rock has generated billions of dollars for the entertainment industry and its fans number in the millions worldwide. Of all the genres in rock and roll, hard rock is the most bankable.

Several metal bands have been shunned by the Hall, so my inclination is to highlight two exemplary sidemen.

Among the most prolific and accomplished bassists on stage and on record, Rodolfo Maximiliano Sarzo Lavieille Grande Ruiz Payret y Chaumont has anchored some of rock’s most groundbreaking and influential artists: Ozzy Osbourne, Quiet Riot, Whitesnake, Dio, and Tony MacAlpine, to cite a select few.

An author (Off The Rails), composer, clinician, educator (Rock Bass Essentials), and designer (Signature Peavey Cirrus Bass) – Rudy plies his craft with a crisp tone, deft use of chords and harmonic extensions, and a proclivity to leave space in a genre oft given to over-playing!

Incorporating signature jazz, rock, classical, and Latin motifs in his bass passages, Rudy exemplifies one of rock’s most treasured characteristics: inclusiveness!

And along with Hall of Famers Bill Wyman and Jack Bruce; Tony Franklin, and should-be Hall of Famer Boz Burrell of Bad Company: Rudy is a rock fretless bass pioneer.

Bob Daisley’s discography reads like a hard rock history book: Rainbow, Ozzy Osbourne, Yngwie Malmsteen, Uriah Heep, Gary Moore, and Black Sabbath, among others. A composer, and supportive player, Daisely’s disposition is decidedly of a blues origin – which is evidenced by his early work with Chicken Shack and Mungo Jerry.

In 2014 Bob published his highly controversial autobiography For Fact’s Sake – which reveals more than a few hard truths behind the hard rock legends! In fact, Daisley, along with Dave Spitz and Neil Murray should be included with Black Sabbath’s Hall of Fame honors. Granted those players did not wax Sabs’ classic slabs, but they played for millions of fans before Ozzy and Geezer retuned into the fold.

Rudy Sarzo and Bob Daisley are deserving of Rock and Roll Hall of Fame honors for Musical Excellence.

Pino Palladino: Akin to his peer Marcus Miller, the chameleonic Giuseppe Henry “Pino” Palladino has been among the most in-demand session and touring bassists on the planet for thirty years and counting. Pino’s prominence lies in his mastery of the fretless bass – best exemplified on Paul Young’s hit rendition of the Daryl Hall composition “Everytime You Go Away.”

Greatly inspired by classic rhythm and blues and American soul music – Pino’s resume spans stellar work with non-rock artists D’Angelo, Adele, and Herbie Hancock to rock artists including the John Mayer Trio, David Gilmour, Jeff Beck, and Nine Inch Nails.

Many of my fellow bass players salute Pino for anchoring Roger and Pete as they oft resurrect The Who for a new generation, and for the pleasure of geezers like myself. And kudos to Pino’s approach towards the gig as he brings his signature artistry to The ‘Oo canon rather than attempting to copy the irreplaceable John Ox Entwistle as evidenced throughout Quadrophenia Live in London (2014) among other releases and live shows.

Pino Palladino is deserving of Rock and Roll Hall of Fame honors for Musical Excellence.

Joe Osborn: He was a first-call Wrecking Crew session virtuoso whose command of upper register countermelodies, to my ears, are among the greatest in the pop music canon, and are on par with such high-note notables as Sir Paul, Brian Wilson, and Chris Squire – all of whom are in the Rock and Roll Hall of Fame.

With a Fender Jazz equipped with LaBella flats that he hardly ever replaced and a plectrum, Joe Osborn was a staple on radio, television, and films throughout the 1960s-70s. Trust me, you’ve heard Joe Osborn.

And Joe’s work with Rock and Roll Hall of Fame drummer Hal Blaine on the electric Simon & Garfunkel studio sides is matchless. You can’t imagine those songs sans Joe’s contributions. Ditto his work with Mamas & The Papas, Neil Diamond, The Monkees, and scores of other artists too numerous to cite.

Joe Osborn is deserving of Rock and Roll Hall of Fame honors for Musical Excellence.

Jerry Scheff: “And on the Fender bass, I’d like to introduce you to Jerry Scheff ladies and gentlemen…” warbled Elvis Presley in his hazy 1970s baritone.

Jerry Scheff joined “The King” at the onset of his decline, anchoring the legendary TCB (Takin’ Care of Business) Band – which waxed several killer live sides and such singles as “Burnin’ Love” and “Moody Blue.” Note that Elvis’ upright bassist Bill Black is in the Rock and Roll Hall of Fame – however most fans actually saw Elvis in his jumper with Mr. Scheff on the concert stage.

Aside from Elvis, that’s Jerry on The Doors’ LA Woman – which to my ears, one of the great rock bass slabs, though not recognized as such. Scheff’s bass passages on the title track, “Love Her Madly,” and “Riders on the Storm” solidified the Doors status as a world class ensemble. In fact, Jerry makes that album – go back and listen if you doubt me!

Scheff’s resume is astounding: Tommy Roe, Nancy Sinatra, The Monkees, Arlo Guthrie, Johnny Rivers, Delaney & Bonnie, Todd Rundgren, Helen Reddy, Tom Scott, Bob Dylan, Buckingham Nicks, Lobo, Hoyt Axton, Larry Gatlin, Mink DeVille, Johnny Cash, John Denver, Elvis Costello, Richard Thompson, Roy Orbison, Glenn Frey, Suzanne Vega, Randy Newman, and Bruce Cockburn, to cite a few.

Jerry Scheff deserves Rock and Roll Hall of Fame honors for Musical Excellence.

Sure, the Rock and Roll Hall of Fame is given to politics, advertising dollars, and corruption – what isn’t in American life? America’s greatest musical artforms – rock, blues, rhythm & blues, and jazz – are founded on the bass.

The Hall may be a dump, but it’s our dump.

Where do I set up my bass rig?

 

 

 

This feature appeared in No Depression and Huffington Post – November 2016

“You ask the average person what a bass is, or what a bass sounds like, and most of the time, they don’t know. But remove the bass from any piece of music and suddenly it becomes the largest missing piece in the world! Whoa, fifty percent of the music just went away with one instrument! It is an instrument that is much more conspicuous by its absence than by its presence…” Michael J. Visceglia, bassist, author, educator, recording artist

The 2017 Rock and Roll Hall of Fame nominees were revealed a few weeks ago and I congratulate all the artists: Bad Brains, Chaka Khan, Chic, Depeche Mode, Electric Light Orchestra, J. Geils Band, Jane’s Addiction, Janet Jackson, Joan Baez, Joe Tex, Journey, Kraftwerk, MC 5, Pearl Jam, Steppenwolf, The Cars, The Zombies, Tupac Shakur, and Yes. 

Some of the choices are obvious to me, some less so. A few leave me bewildered, but that’s rock and roll…the mistakes make the music real. And I see that a few of the nominees didn’t have bass players per se – namely Depeche Mode and Kraftwerk. They’re not getting my vote, yet I still embrace and respect them.

Last year, I scripted an op-ed regarding bass players who deserve Rock and Roll Hall of Fame recognition which, in turn, garnered me widespread recognition. My feature appeared in Huffington Post as Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame – October 2015 – which is archived on my website www.KnowYourBassPlayer.Com ( http://bit.ly/2fqzJrs ) for your reading pleasure.

Bass players are a rare breed. There’s only one of us in the studio or on stage. We’re not quite like the other musicians on the bandstand or recording booth who garner most of the glory. As Michael noted, you don’t know how much you need us until we’re gone! We yield far more power than attention. Which is cool with us, that is, until we are stirred by some injustice; harmonically, rhythmically, financially, or metaphysically. We are (usually) musicians of principle, empathy, support, compassion, and loyalty. Bass players are like the US Marine Corps; Semper fidelis. 

At any rate, those eleven bass players whom I cited in my Huffington Post feature -which was shared, retweeted, plagiarized, vilified, praised, razed etc. were not members of bands that I feel, along with millions of other “serious” rock and roll fans, justify acknowledgement.

Rather, I referenced the following: three prominent bass players who were excluded from the Hall even though the bands they played in and recorded with were enshrined in The Rock and Roll Hall of Fame; John Dalton and Jim Rodford of The Kinks, and Doug Yule of the Velvet Underground.

I cited two bassists who played on Rock and Roll Hall of Fame members’ seminal recordings and ensembles and had a major impact on the careers of their bandleaders; Dee Murray from the classic “Elton John Band,” and Carl Radle from Eric Clapton’s 1970s groups and Derek & The Dominos.

And I made the strong case for six bassists who distinguished themselves with a myriad of Rock and Roll Hall of Fame artists as sidemen on landmark recordings, tours, and concert performances; Klaus Voorman, Kenny Aaronson, Harvey Brooks, Will Lee, Lee Sklar, and Herbie Flowers.

You likely have no idea, unless you are a bass player, how revered these individuals are. In fact, I’ve met a few of these players, and they have no idea how revered they are!

As I opined in 2015, since The Rock and Roll Hall of Fame Foundation began in 1983, there has been much consternation over who belongs and who does not. It’s no different than the bickering that goes on regarding sports Hall(s) of Fame.

Time continues to prove that controversy, dispute, and rock ‘n’ roll remain siblings. Nevertheless, I will continue to champion the cause for my woefully neglected bass comrades, some of whom no longer pluck, mute, slap, pop, glissando, nor groove in-the-pocket above ground for your artistic enrichment.

A few Hall credible bassists whom I have spoken with since my 2015 op-ed was published have expressed their extreme dissatisfaction with The Rock and Roll Hall of Fame. I understand their ongoing frustration. The Rock and Roll Hall of Fame is a private club.  And like most private clubs, and a few public ones: it’s given to politics, favoritism, and bias. 

If musicians, producers, engineers, and arrangers ran the joint – with a bass player in charge, The Rock and Roll Hall of Fame would be far more inclusive and democratic, I assure you.

However, we must work with what we have. Afford me an analogy: as a life-long New York Mets fan, I was insufferably lambasted for my reverence of Shea Stadium which at one time was a state-of-the-art sports edifice which soon descended into near ruins due to “fiscal” neglect. Demolished in 2009, this beloved orange and blue monstrosity situated on Flushing Meadows- Corona Park, Queens, New York was a dump. But, it was our dump!

Such is The Rock and Roll Hall of Fame. It may be a dump, but it’s our dump.  Bass players included.

My second roll call of bass players who belong in The Rock and Roll Hall of Fame, in the tradition of Spinal Tap, once again goes to eleven!

And once again, this list does not include bass players from established name bands that I think should be enshrined in The Rock and Roll Hall of Fame. These are players who either distinguished themselves with Rock and Roll Hall of Fame artists, or players who were not included even though the bands they played in and recoded with are in The Rock and Roll Hall of Fame. 

All these bassists made profound contributions to our cherished art form that is rock and roll. And akin to all truly dedicated bass players, they served their audiences as well as their artists. 

So, who else belongs?

Carole Kaye, Tim Drummond, Chuck Rainey, Kenny Passarelli, Doug Stegmeyer; John York and Skip Battin of the Byrds; and Lamar Williams, David Goldflies, Allen Woody, and Oteil Burbridge of the Allman Brothers Band.

Herein is my testimony:    

Carol Kaye:  She has been praised by Quincy Jones “The Fender bass player Carol Kaye…could do anything and leave the men in the dust!” Brian Wilson heaped hosannas aplenty on the Wrecking Crew anchor “Carol, you’re the greatest bass player in the world…” 

By her own estimation, Kaye has appeared on over 10,000 recordings. I can’t imagine how many times she’s been sampled. Neither can her lawyer or accountant. Carol cut classic sides with the Beach Boys (Pet Sounds), Ray Charles, The Righteous Bros., Nancy Sinatra (“These Boots are Made for Walkin’), Sam Cooke, Glen Campbell, Lou Rawls, Ritchie Valens (“La Bamba”), Jan & Dean, Paul Revere & Raiders, The Monkees, Sonny & Cher, Quincy Jones, Joe Cocker (“Feelin’ Alright”), Ike &Tina Turner, Bobby Darin, Frank Zappa, and Wayne Newton, to cite a very, very select few as her list of credits is exhaustive. She is an undeniable icon among rock and pop studio musicians and her basslines are legend.

Carol Kaye’s absence from The Rock and Roll Hall of Fame is inexcusable. And perhaps it’s sexist. I reference recent Hall of Fame inductee Steve Miller’s comment on the lack of women in the Hall. (And where the hell in the Hall are The Steve Miller Band’s bass players Lonnie Turner and the dude who laid down Steve’s signature groove on “The Joker” – Gerald Johnson? In the real world, Steve Miller without the Steve Miller Band does not get in the Hall! And that includes Steve Miller Band founding member Boz Scaggs. Steve, if you are reading this, get on it!)

Carol Kaye must be recognized in the Rock and Roll Hall of Fame Sideman (pun not intended) category and/or Musical Excellence category. 

John York and Skip Battin of The Byrds: This is another glaring Rock and Roll Hall of Fame injustice. The Byrds were an American Beatles, and their influence beyond their commercial success early in their career is astounding.

Founding bassist Chris Hillman, who is an accomplished singer, songwriter, and guitarist, was enshrined as he should have been. Yet session players (Larry Knechtel), oft times covered for Chris in the studio as he was not yet proficient on the bass when the red “record” light flashed. No big deal as this is the case with many Rock and Roll Hall of Fame inductees (such as The Clash who relied on bassist Norman Watt-Roy for Sandinista and “Rock the Casbah”). Chris Hillman improved and played bass on Byrds records, but his successors are equally deserving of recognition.

John York earned respect as a studio bassist and sideman with the Mamas and the Papas among others, and appeared on some of The Byrds most influential platters including Ballad of Easy Rider. Find me an acclaimed roots rock artist or ensemble for the past forty years that was not inspired by that slab!

The late Skip Battin, a veteran rocker when he joined The Byrds in 1970 was a seasoned player who piled his craft on such important releases as (Untitled) and was the band’s longest serving bassist. Battin was an amazing pocket player and an audacious improviser with a mastery of rhythm. Seek him out on Byrds archival live platters.  

Both bassists were songwriters and skillful harmony vocalists. You cannot tell the complete story of The Byrds and their watershed role as Americana and country rock pioneers sans John York and Skip Battin. The Hall needs to augment The Byrds’ Hall of Fame credentials and enshrine both John York and Skip Battin with the original members.

And where are the latter day Byrds’ ground-breaking members Gram Parsons, Gene Parsons, and Clarence White? Their continuing influence on American roots music is enormous. Are you kidding me Rock Hall?  Bring in Parsons, Parsons, and White! These cats practically invented roots rock, and to my ears, no players have come close to their virtuosity. 

Tim Drummond:  Millions have enjoyed his work, yet his identity remains known to a select few. 

An undeniable Rock and Roll Hall of Fame worthy bassist, the late Timothy Lee Drummond’s remarkable studio and stage credits span rock, blues, folk, gospel, rhythm and blues, country, jazz, and countless variants thereof.   

A master groove player who served the song first and foremost, Tim waxed classic sides and anchored historic tours with Crosby, Stills, Nash & Young in multiple configurations including Neil Young’s Harvest (1972); along with Bob Dylan (Slow Train Coming), Ry Cooder, J.J. Cale, James Brown, Hank Ballard, the Beach Boys, Jewel, Roy Buchanan, Miles Davis, Rita Coolidge, Neil Diamond, Bette Midler, and Hoyt Axton, among many others.   

Kudos to Graham Nash for pushing Tim up in the mix on the incendiary CSNY 1974 (2014) archival live collection wherein Tim’s fluid lines and funky rhythms bridged the ample gaps between the oft contentious quartet of bandleaders on that historic Watergate-era trek across North America.

Tim Drummond contributed to some of the greatest recordings and concert tours of the classic rock era, and thereby deserves recognition in the Rock and Roll Hall of Fame Sideman category.

Chuck Rainey: Along with James Jamerson, Carol Kaye, and Jerry Jemmott (another important bassist missing from the Rock and Roll Hall of Fame), Mr. Rainey steadfastly established the electric bass in the recording studio beginning in the 1960s and was among the instrument’s most fervent and innovative practitioners.

When Rock and Roll Hall of Fame producer Quincy Jones, for whom Rainey often worked for, proclaimed that the development of the electric bass was among the most significant events in 20th Century music – he was referring to Chuck and the above referenced bass icons. Try listening to soul music sans the electric bass. Or funk. Or disco. Or electric blues. Or alternative and contemporary country, whatever that means. None of these genres would exist sans the electric bass and the work of Mr. Rainey.

Fact is, Chuck Rainey is in the company of the most recorded electric bassists in the history of popular music.

In addition to numerous television and film soundtracks, you’ve heard Chuck’s signature bass artistry enhance the work of Steely Dan (Katy Lied, Pretzel Logic, The Royal Scam, Aja, Gaucho), Aretha Franklin, Laura Nyro, Donald Byrd, the Pointer Sisters, Tom Jones, Tim Buckley, The Rascals, Al Kooper, Diana Ross, Ray Charles, Paul Simon, Bette Midler, Robert Palmer, Marvin Gaye, Lowell George, Dionne Warwick, and Rickie Lee Jones – just to skim the surface. Heck, Chuck’s grooves on Steely Dan sessions alone validate his immortality! 

If you’re a bass player and you don’t know Chuck Rainey, you’re probably not a very good bass player. A true giant of the electric bass in rock, soul, and rhythm and blues, Chuck Rainey warrants recognition in The Rock and Roll Hall of Fame Sideman and/or Musical Excellence category.

Kenny Passarelli: His ascending motif enabled Joe Wash to live a “Life of Illusion” – which Kenny co-wrote. If that bass line does not grab you, check your pulse, you may be dead. His vibrant lower register groove ensured that “she burn like fire” on Elton and Bernie’s “Island Girl.” Again, check your pulse.

A composer, producer, and recording artist – bassist Kenny Passarelli served as the harmonic and rhythmic foundation for several seminal ensembles helmed by Rock and Roll Hall of Fame members including Joe Walsh’s Barnstorm (co-writer of “Rocky Mountain Way”); the former Reggie Dwight’s collective as heard on Rock of the Westies, Blue Moves, and the archival Captain Fantastic Live at Wembley; and the Daryl Hall & John Oates Band as heard on Livetime and Along the Red Ledge.  

Kenny also forged major contributions to notable slabs and tours with Hall of Famer Stephen Stills (Stills and Stephen Stills Live), Rick Derringer (All American Boy), Otis Taylor, Hall of Famer Daryl Hall (Sacred Songs), and Dan Fogelberg (Souvenirs), among others.

Several records with Kenny’s name in the credits inspired my generation of rock musicians. Kenny Passarelli is the consummate ensemble bass player – which is the essential stuff of great rock and roll – even though the public might not be aware of it.

And along with Rock and Roll Hall of Famers Rick Danko of The Band, Bill Wyman of the Rolling Stones; jazz fusion trailblazer Jaco Pastorius (who belongs in the Hall with Weather Report and as an instrumentalist), and Boz Burrell (who belongs in The Rock and Roll Hall of Fame with his band Bad Company), Kenny was an early proponent of the fretless bass in a rock context which he played with a decidedly soulful approach, unlike the above referenced gents who interpreted the instrument with a more jazz, bluegrass and blues disposition. Talking fretless may not resonate with non-musicians, but it makes a world of difference in the music recordings you love. Again, see Michael’s quote above.

Download or stream any Classic Rock playlist or (gasp) listen to Classic Rock radio for a few minutes and you’ll hear Kenny Passarelli.

Several of Kenny’s bandleaders and peers are in The Rock and Roll Hall of Fame, which is where Kenny belongs in the Sideman or Musical Excellence category. And don’t you dare get me started on Rick Derringer’s absence from the Hall.    

Lamar Williams, David Goldflies, Alan Woody, and Oteil Burbridge of the Allman Brothers Band. Founding Allman Brothers bassist Berry Oakley was indeed a legend and innovator. Yet the story of the Allman Brothers does not end with the untimely loss of Duane Allman in 1971 and Berry Oakley the following year.

Upon Oakley’s tragic passing, Lamar Williams stepped up and guided the band during its most commercially successful period from 1972 through 1975. Williams was an exceptional, soulful player who helped expand the language of Southern and Delta blues rock. Lamar’s finest work with the Brothers on record was on the flawed but occasionally dazzling Win, Lose or Draw.  Check out any of the archival Allman Brothers live recordings and you’ll hear how remarkable Williams, who passed away from the effects of Agent Orange by way of his service in the Vietnam conflict, really was.  

A superb player, David “Rook” Goldflies anchored the Allman Brothers Band from 1978 to 1982 as the ensemble aimed for wider audience on record. Though the Brothers were not quite cut out for pop radio in the new wave era, David and the band soared on stage, and Goldflies’ work on three Allmans’ releases Enlightened Rogues, Reach for the Sky, and Brothers of the Road was rather excellent. Goldflies’ valuable presence helped carry the genre and the band when the masses were paying more and more attention to pretty faces and big hair on MTV.  

Inspired by Jack Bruce, Jack Casady, and Felix Pappalardi (yet another missing influential bassist / producer from The Rock and Roll Hall of Fame), the late Douglas Allen Woody helmed a re-energized Allman Brothers Band.  Woody was a master improviser and groove player as the Allman Brothers enjoyed a mid-career resurgence thanks to his contributions as heard on the band’s second golden era platters: Seven Turns, Shades of Two Worlds, and An Evening with the Allman Brothers Band Sets 1 and 2.

With Allen Woody in the Allmans’ rhythm section, rock fans started to regain respect for American blues and legacy artists. Woody also inspired young listeners to go back to the Allmans’ early work, and to explore Duane and Gregg’s influences as well. 

Oteil Burbridge served as bassist for the Brothers in the final seven years of their existence. Though the band was past its prime in the recording studio – Hittin’ the Note minus Richard Betts had its moments – the Allmans were still a major force on stage. Burbridge’s virtuoso playing alongside young gun Derek Trucks inspired yet another new generation to explore the blues and jam band genre – and to go out and hear live music.

All the bass players who followed Berry Oakley augmented the Allman Brothers’ legacy with matchless musicianship in the studio and on the concert stage, and deserve recognition along with the founding members.

And while I’m on the topic of the Allmans, they would not be a Hall of Fame band without the lasting contributions and hard road work of Chuck Leavell, the late Dan Toler, Warren Haynes, and Derek Trucks – put them in!

Doug Stegmeyer: Bruce Springsteen came to his senses and ensured that the E Street Band got their props – albeit fifteen or so years too late. Now Billy Joel needs to own up to the responsibility.

As I and millions of others were witness, the classic Billy Joel band line-up of saxophonist / keyboardist Richie Cannata, drummer Liberty DeVitto, guitarists Russell Javors and David Brown, and the late bassist Doug Stegmeyer were among the best live bands of their era. And they were magic in the recording studio. In the absence of Stegmeyer and company, Billy made good records. With Doug and the boys, Billy waxed classic records. 

The Billy Joel band came of age in the 1970s – an incredibly fertile and diverse era. In those days, music artists competed and played on concert bills with everyone; spanning fusion powerhouses such as Return to Forever and Weather Report, to supergroups including Led Zeppelin; to groundbreaking roots artists such as Asleep at the Wheel and Townes Van Zandt; to prog rock masters Yes, Jethro Tull and King Crimson; to soul visionariesStevie Wonder, Marvin Gaye; to reggae innovators Bob Marley; to politico punk rockers such as The Clash and Patti Smith; to singer songwriter pioneers such as Joni Mitchell, Bob Dylan, Laura Nyro, Carole King and Van Morrison; and whatever we can pin on Frank Zappa and The Mothers – to name a very select few. Before computers hypnotized the masses, ad agencies segregated listeners, and bands became “brands,” young audiences of my generation were attuned to musical excellence. 

The classic line-up of the Billy Joel band exuded musical excellence and stood equal among these above referenced 1970s era artists. Go back and listen to their records, and their sizzling live set on The Stranger Deluxe Edition which fuses jazz, bar band rock, and Broadway.

Doug Stegmeyer and his bandmates elevated the artistry of Billy Joel on stage and on record to greatness, and are long, long, overdue for their recognition in The Rock and Roll Hall of Fame in the Musical Excellence category. 

In summation: Rock and Roll is a team sport. The classic rock era ushered in new models for songwriting and recording. With musicians composing and arranging in self-contained ‘band” configurations – contributions from bass players, guitarists, keyboard players, percussion, horn /string players, producers, and engineers, among others, were integral to the evolution of the art form and the success of the artists.

Look (and listen) no further than the impact of Herbie Flowers’ double-tracked bass passage to two time Rock and Roll Hall of Fame member Lou Reed’s “Walk on the Wild Side.”  Not only is Mr. Flowers deserving of Hall of Fame recognition for his work as a studio giant, which I cited in last year’s Eleven Players, Herbie’s extraordinary input on Transformer kept Lou’s career on track, which enabled a new generation to discover Reed’s old band; you may have heard about them – The Velvet Underground (whose bassist Doug Yule was not enshrined -again, see my original Eleven Players.)    

The Rock and Roll Hall of Fame does not quite grasp the importance of the rhythm section and band members.

With all due respect to Darryl Jones; without Bill Wyman on bass – Mick, Charlie, Keith, and Ronnie have become “The Rolling Stones Revue.”

Where would David Bowie be without the involvement of his pioneering producer and bassist Tony Visconti – another innovator missing from the Rock Hall? And don’t get me started on Mick Ronson’s absence from the Hall.

When you attend an Elton John concert, you want to hear the songs that Dee Murray and Kenny Passarelli (and Nigel Olsson, Davey Johnstone, Ray Cooper, Roger Pope, Caleb Quaye, and James Newton-Howard) originally played on and contributed to – and which current Elton bassist Matt Bissonette replicates dutifully night after night after night.

Bass players and rhythm section players deserve more respect and recognition in The Rock and Roll Hall of Fame.

Our dump needs fixing!

(Coda: My profound apologies to those who are equally deserving whom I did not cite this year and in 2015 – including Trevor Bolder, Max Bennett, Mo Foster, David Hood, Tony Visconti, Jerry Jemmott, Nick Lowe, Nathan East, Mike Watt, Jah Wobble, George Perry, Anthony Jackson, Joe Osborn, Pino Palladino, Robbie Shakespeare, Alan Spenner, Danny Thompson, Bob Daisley, Marcus Miller, Victor Wooten, Aston Barrett, Jerry Scheff, Tony Levin, Victor Bailey, Jaco Pastorius, Stanley Clarke, Rick Wills, Rudy Sarzo, Nic Simper, Randy Jackson, Willie Weeks – forgive me! I’m sure my readers and my bass player brothers and sisters will let me know of my additional oversights. So many bass players so little time. I’ll get to them!)

   

 

 

Spanning recording studios to arenas to concert halls to the festivals to the pubs, Brian Stanley is the go-to bassist for some of rock’s top composers. He is, to my ears, the consummate “song player,” drawing from an expansive knowledge of pop, jazz, blues, and soul which emerges in his style, tone, grooves… and conversations! Among Mr. Stanley’s laudable credits include The Beach Boys, Garland Jeffreys, Bryan Adams, Willie Nile, Jules Shear, Tommy Shaw, Mike Scott, and G.E. Smith to cite a few.

 

Dig Brian Stanley on Know Your Bass Player on Film: Season One – New York City 2016 Euphoria Studios https://bit.ly/32vpFXI

 

As the anchor of Ian Hunter’s finest post-Mott the Hoople / Hunter-Ronson ensemble, The Rant Band, Paul Page tethers his bandleader’s half-century canon with pocket passages that exude a passion for soul, rhythm & blues, and old-school glam.  Prowling the bandstand with a weathered Fender P, Page’s improv on “All American Alien Boy” harmonically twists, swoops, and growls, quoting a lick or two from Jaco’s masterstroke. Mr. Page has backed legends aplenty including Dion, Lou Christie, John Cale, and Gary U.S. Bonds, and waxed sides with Martin’s Folly, among others.

Dig Paul Page on Know Your Bass Player On Film – Season One : New York City 2015 Euphoria Studios https://bit.ly/32vnZ0m

 

Bassist Michael Visceglia Reveals a View from the Side by Tom Semioli

This feature appeared in Huffington Post in June 2015

 

“You ask the average person what a bass is, or what a bass sounds like, and most of the time, they don’t know. But remove the bass from any piece of music and suddenly it becomes the largest missing piece in the world! Whoa, fifty percent of the music just went away with one instrument! It is an instrument that is much more conspicuous by its absence than by its presence…”

 

A few weeks ago I interviewed Rock ‘n’ Roll Hall of Famer Dennis Dunaway upon the release of his memoire Snakes! Guillotines! Electric Chairs! My Adventures in the Alice Cooper Group – and among the many profound statements he imparted to me was “rock ‘n’ roll …if it doesn’t kill ya, it will keep you forever young.” Which brings me directly to Michael Visceglia, an ageless cat who has plied his oft anonymous yet essential craft on recorded works and concert performances with such artists as Suzanne Vega, John Cale, Jackson Browne, Bruce Springsteen, Bette Midler, Phoebe Snow, and Christopher Cross, to reference a very few.

 

Shortly following his latest performance from the orchestra pit of Cyndi Lauper and Harvey Fierstein’s Tony Award Winning Broadway musical Kinky Boots on a warm spring evening, Mr. Visceglia is sitting across the table from me in one of those Italian restaurants that Billy Joel once portrayed in song to discuss his new book, which, as the most mesmeric works often are, is borne of “a labor of love…it was a completely non- commercial idea at first!”

 

As for the play, which was cited for Best Musical and Best Original Score, Mike’s grooves are worth the price of admission alone – but go see the production anyway. “For a Tuesday night” he enthuses, “this was a fantastic gig…the audience was really into it…everything clicked.”

 

In short, Visceglia’s terrific tome A View From the Side, negotiates many themes which may appear disparate at first, but they all resolve in the end – much like an effective bass-line that grabs an audience – even if they cannot fathom the source of the rhythm, harmony, and rumble by no fault of their own. His chronicles of tours with Suzanne Vega, Velvet Underground icon John Cale, the story of the mysterious Miss M as exposed in “The Fan,” and his paean to a friend and mentor entitled “The Many Lives of Jan Arnet,” are the stuff of Hitchcock films. And that’s just the first few chapters.

 

“The idea came from my experiences on the road…” exclaims Michael, “hey if this happened to me, there’s got to be a lot of other musicians who have really interesting things to say…but I kept it in the bass world, because I’m a bass player.” True that, but few scribes can capture the range of emotions that a bass player experiences given the tangible power of the instrument and the role these dedicated yet mostly unknown practitioners play in the music that touches the lives of millions.

 

“But, you don’t have to be a muso or a bass player to appreciate it…” emphasizes the bassist. “I want it to be for anybody who has an interest in the music business and beyond. There is value in these human interest stories. I stayed away from the usual topics of what amplifier or what instrument someone used on a record or a tour. I delved into the thought process, the creative process, how these players keep going in this ever changing business. How do they traverse all the different styles? It’s something everyone can relate to.”

 

Aside from the sometimes torrid yet always touching tales of his personal experiences, Michael’s candid conversations with bassists Will Lee (Late Show with David Letterman), Tony Levin (Peter Gabriel, King Crimson, John Lennon), Marcus Miller, Colin Moulding (XTC), and the late studio legend Duck Dunn, among others, makes known much about the character of a bass player which will enlighten fans and aspiring musicians alike.

 

Visceglia’s in-depth exchange with James Taylor bassist Leland Sklar, another studio giant, emerges as a pop music history lesson hitherto untold- warts and all. “My goal was to get players from different parts of the country, from different genres…with Lee Sklar, you get a look through the window of how you can be with someone for such a long time and build a career for a star, and you think you are creating an everlasting bond with someone…but you’re really not. And I’ve found that out a few times myself.”

 

Visceglia also shares his expertise on the currently unhinged state of the music business, offering insightful analysis on the death of the record industry; the American Idol-ization of the pop music spectrum, along with practical advice on how to forge a career as a working musician regardless of the seismic shifts in how music is delivered, consumed, and valued by the masses. However unlike many veteran players who have seen it all and continue to pine for days past, Michael waxes wise and most positive.

 

“One thing that an audience always relates to, more than anything else in the world, is authenticity. Of course, there are a lot of fabricated stars out there…that’s fine. And it’s nothing new. But that doesn’t mean that every artist out there is defined by that. To experience the connection that happens between musicians, a song, a voice, an instrument, and an audience…all the people who are in it for the right reasons, and are committed to the art – we will always find an outlet for it. The other stuff, well, that’s just white noise in the background…”

 

With a Fender bass fawning forward by former teacher Gordon Sumner, better known by his stage name Sting – and moving tributes to his late father, without whom Michael would have never picked up a bass to embark on his incredible life journey, A View From the Side is among the most realistic, accurate and useful collection of essays for bass players, musicians, and fans that I’ve come across in many years. I’m not at all surprised that it was written by a bass player.

 

“The nature of the bass is supportive. It’s the only instrument that exists in three worlds – the rhythmic, the harmonic, and melodic worlds. In order to have longevity in this business, from my own experiences and from everybody I talked with, you have to be highly committed, highly flexible – you cannot have a rigid outlook on your life and the way you think things are supposed to be…because the script isn’t written that way!”

 

Michael Visceglia’s A View From the Side, published by Wizdom Media LLC and distributed by Alfred Music is out now.

 

Michael Visceglia on Know Your Bass Player on Film Season One – 2016, New York City, Euphoria Studios https://bit.ly/3lpvHBX

 

Courtesy of Leo Lyons Com

Among the great success stories to emerge from the original Woodstock Festival in 1969, British blues barons Ten Years After were essentially a one-trick pony; however their singular stunt afforded the lads several hit albums, extensive FM radio play, and two unquestionable classic rock anthems: “I’m Going Home” and “I’d Love to Change the World.”

 

Leo Lyon’s battered Fender Jazz looked like a toy in the hands of this towering bassist. Though Leo gave the appearance that he was savagely attacking his instrument as his right hand visibly thumped the strings while his left hand flew up and down the neck – the Nottinghamshire native is quite the focused, articulate player.

 

Ssssh (1969) and Cricklewood Green (1970) are essential British blues rock albums. Highly influential on both sides of the pond, the late, great Alvin Lee and Ten Years After are deserving of Rock ‘n’ Roll Hall of Fame recognition.

 

A composer for various stage productions, cartoon and film soundtracks, and MTV videos, among Leo’s high-profile production credits include  UFO, Magnum, Waysted, Procol Harem, Frankie Miller, Richard and Linda Thompson, Brigitte St John, John Martin, Kevin Coyne, Sassafras, Motorhead, Hatfield and The North, The Bogie Boys, The Winkies, and Chris Farlowe, to cite a few.

 

After Ten Years After initially folded, Lyons migrated to Nashville to compose, produce, and play various sessions – then reformed TYA again with Lee, then with Joe Gooch in place of Alvin Lee. Leo currently anchors Leo Lyons & Hundred Seventy Split, wherein he also works his craft on the doghouse.

A Conversation with Leo Lyons: 

Leo Lyons Sound & Vision…

 

“I’d Love to Change the World” https://youtu.be/eOCtHjQKySw

 

Dig Leo and TYA in rehearsal in ‘69 https://youtu.be/289AGcGogQI

 

Lyons soloing on “Good Bye Little School Girl” https://youtu.be/SlUAuM7oRTc

 

Leo Lyons & Hundred Seventy Split:  https://youtu.be/a23S-NEuSYc