Bassist Gary Van Scyoc recalls John Lennon’s “discovery” of the Elephant’s Memory Band in New York City. Gary, along with his bandmates Stan Bronstein, Tex Gabriel, Richard Frank Jr., Adam Ippolito, and John La Boosca, with renowned studio drum Jim Keltner recorded John & Yoko’s politically charged “Some Time in New York City” album in 1972 – a riveting song-cycle which was the most controversial entry in Lennon’s solo canon and among the most divisive slabs from a major rock artist. Tom Semioli: Interviewer / Writer. Mark Preston Director / Producer. Derek Hanlon: Cinematographer. Mark Polott: Editor.

Rock and roll is in a tough spot, dear readers. The record biz is kaput. Terrestrial rock radio has gone underground i.e. it’s dead and buried. Sir Mick has a new valve. Punk rock relics are in museums and its fashion cues retail at Neiman Marcus. And alternative rock plays in Vegas. What next, Greta Van Fleetwood Mac?

But don’t lose faith, because just when it appears that our brickhouse has caved in, an album (that is, an assemblage of audio recordings issued as a collection on compact disc, vinyl, audio tape, or another medium) “drops” that restores our belief in three chords, a sunburst Fender Precision, and the truth (or something close to it).

 Behold our saviors: Greg Antista and The Lonely Streets. Their debut disc – Shake, Stomp and Stumble sees the light of day on May 17, 2019 on Primal Beat Records. Their roots run deep, deep, deep into the Orange County / California punk scene.

 Where to begin? Bandleader / primary songwriter Greg Antista lists Joyride and Foxy on his resume. Lead-guitarist Jessica Kaczmarek toiled in Busstop Hurricanes, and Russell Scott & The Red Hots, among others. Jorge E. Disguster has manned the skins for Mr. Mirainga, Mink Daggers, Disguster and CoDependents.

 And then there’s the star of the Know Your Bass Player show, bassist Warren Renfrow – anchor of the mighty Cadillac Tramps, Manic Hispanic, Final Conflict.

 If that does not impress you, you may be a Childish Gambino fan. Research these giants of their chosen genre on YouTube.

 The band members have known each other for centuries (the press release reads “decades,” but you can never trust such documents) and despite the fact that they’ve been in business for a little over a year, these veteran cats rock with the exuberance of youth and the wisdom of age.

 Thanks to digital and social media it is no longer required of a hack such as I to “describe” GAATLB music to you. I’ll draw analogies to Social Distortion, Alejandro Escovedo, Tom Clark and the High Action Boys, Jason & The Scorchers, The Clash, and The Stranglers – and I may be right. Antista is a master lyricist – akin to the best writers, he paints pictures with few words. The melodies are inescapable, and the rhythm section is air-tight, loud and proud.

 And what of our man Renfrow? We’re talking legend here. In addition to his aforementioned pedigree, Warren went to war as a touring bassist with The Damned and Adolescents.

 Logistics and schedules prevented us from capturing Warren for Know Your Bass Player on Film – though Mark, Mark, Derek and I will see to it that we do.

 Until then, we give you the words of Warren Renfrow.

 Were the Renfrows a musical family? While I’m the only one in my family to play an instrument, I grew up in a household with seven siblings. I was exposed to everything they listened to — mostly ’60s pop/rock, with an emphasis on the Beatles and the Stones. My older brother was the closest in age to me. He took me to a lot of really great concerts like Elton John, AC/DC (with Bon Scott), The Who with Keith Moon, and one of the first tours by Elvis Costello and the Attractions.

 At what point in your formative years did you gravitate towards playing a musical instrument? Like most kids, I air guitared with a stick or a broom. Then a family friend gave me a little Sears bass and amplifier (kinda wish I still had it). I remember sitting and trying to learn, playing along to side one of the first Rodney on the Roq album.

Describe the moment you first became aware of the bass – was it a record, a song you heard on the radio, a performance? It was probably listening to Dee Murray playing on “Funeral for a Friend/Love Lies Bleeding” from Elton John’s Goodbye Yellow Brick Road album. The sound, the tone…the way it pops out and drives the song.

 How did you evolve into Warren the bass player? I saw an old, grainy VHS of the original lineup of The Damned performing. Captain Sensible was playing bass. He just had such an attitude, and that’s who I wanted to be. I even tried wearing a beret and little round glasses, but I’ve got too big of a noggin to carry off that look. Continuing with the Damned, another big influence was Paul Gray. Back in 2002, I had the opportunity to be the fill-in bassist for the Damned when they opened for a Rob Zombie tour. It was an awesome feeling playing those songs that I revered, and nailing it. Leading up to the tour, the drummer, Pinch, and I rehearsed in a garage, then drove straight through to Houston where the rest of the band met us. During our one rehearsal before the tour, I was so exhausted from the drive that it didn’t even hit me that I was playing with my idols. Going through the set, “Wait for the Blackout” came up. As we were playing that song, I looked up and saw Captain Sensible and Dave Vanian and that’s when it hit me. That very moment — out of everything I’ve done musically — remains the most memorable.

 Many folks, despite their love of music, are woefully unaware of the existence of the electric bass and what it does. Anyone ever ask you “what does that thing do?” I’ve never had to answer for it. The bass and drums (the rhythm section) are the engine of the machine. The rhythm section drives the song. When you’re tapping your foot, or nodding your head, or dancing… it’s to the rhythm section. If you wanna be the star of the band though, bass ain’t for you. You’d probably get more attention if you were in the witness protection program. But if you’re an introvert, it’s the perfect instrument.

 Tell me about your first gig – triumph or tragedy? I will say my first gig was pretty fuckin’ awesome. It was with my first band, The Inferior, with Ron Martinez, who I’d later play with again in Final Conflict. He’s now in the Lower Class Brats. I’m sure we sucked but we had the time of our lives.

 The Cadillac Tramps were an iconic So-Cal ensemble:  tell me about the recordings and performances you are most proud of.  I loved the music on the first two albums but they weren’t recorded well. Those records failed to capture us properly as a live unit.  By our third album, It’s Alright, we actually had a pretty good producer named Howard Benson, and the sound quality was a lot better. As far as performances and touring, I look at it as an evolutionary process. You need to build a fanbase. When you first visit a town it’s possible that you’ll only play to 10 people. A few months later that crowd would grow to around 50, then 100. If you visit that market consistently, you’ll eventually sell out the venue. Back then, during the early days of the Cadillac Tramps, it was all word of mouth. No internet. On the opposite end of the spectrum, I can remember taking the stage opening for Pearl Jam and hearing the roar of 12,000 people. I was overwhelmed. Tears welled up. As I reflect on that moment, I have to mention the Cadillac Tramps’ dynamic and talented frontman, Mike “Gabby” Gaborno. He was the guy who made everybody in the room feel like his best friend. He had that gift.

 Recall for me the emotions you felt when you first heard yourself on the radio with Cadillac Tramps. It was on 95.5 KLOS, Uncle Joe Benson’s “Local Licks.” It was fuckin’ cool. You turned on the radio and there you were. I never thought that would happen.

 The Tramps were/are a tremendous influence on a generation of alternative rockers – comment on the band’s legacy – what does that mean to you? It’s nice to hear we were influential, but honestly, I sure as hell didn’t know it. I haven’t given much thought to our legacy. I just look back on it as the best of times.

Final Conflict and Manic Hispanic also garnered acclaim aplenty – what was special about those ensembles? Final Conflict was special because it was my first real band. That band grew out of backyard parties, before we eventually played clubs. Now Manic Hispanic, that was special because it was a joke that took on a life of its own. Everybody in the band was of Mexican descent, so the twist was that we would take old classic punk songs and put our own cultural stamp on them. We would make them funny. It was a totally cool thing because we were all great friends and we’d get to goof out on these classic songs we loved, and laugh.

 Tell me how Greg Anista recruited you to be one of The Lonely Streets. Back in the 1990s when the Tramps were at their apex, pretty much our favorite local band was Joyride with Steve Soto and Greg Antista. Steve and Greg shared singing and songwriting duties. I’ve always liked Greg’s songs. In between then and now, there were a lot of years where everyone settled down, had kids and kind of focused on that. Now everyone’s kids are older and getting out of the house. In 2017, Greg wanted to put a band together, and I believe it was Steve Soto who said, “Hey, why don’t you ask Warren to play with you.” Greg asked, and I’ve always loved his songs, so I said yeah and I’ve been having a blast ever since.

 GAATLS are a group of friends and collective of rock and roll veterans – tell me how that affects the music – it sounds as if the band has been playing together for years! While I’m fortunate to have had the opportunity to play with many talented people, within the framework of a group, there’s a lot to be said for chemistry. When you like the people that you’re playing with, and you like the songs that you’re playing, it comes together quite easily. At this point in my life, I have to really like what I’m doing and have fun doing it, or it’s just not worth my time. I’m not going to play in a band just to play in a band.

Talk about recording SSS – did you work the songs out on the road first? The band certainly recreates the energy of a performance in the studio – not an easy thing to capture! Greg wrote all the songs acoustically and got together with us each individually, gave us his version, and then we all came up with our parts. The equation came together and gelled. Once again, a lot has to be said for chemistry. But if I would have to reveal our secret weapon, it would be Paul Miner at Buzz Bomb Studios. Paul is a great engineer and producer and he had a lot of great ideas during the sessions. I wish Paul was around when the Cadillac Tramps were recording.

 SSS is a fantastic record – however we are living in a “post album” era. What are your opinions on the fact that the majority of music listeners stream single songs – is the album format dead? Is it relevant anymore? The album format was limited by how much music you could fit on two sides of a disc. Streaming music is the next evolutionary step. There are no limits to what people can create. I think the waters are still being navigated.

 When you first picked up the bass, did you think you’d still be playing in your middle-age? It is more satisfying now as an experienced player as opposed to rocking in your younger ears? Early on, my only goal was to play parties, get fucked up, and get laid. Looking back on that now and where it’s taken me — and taking those goals into consideration — I have to say I am a major success. But it’s way more satisfying now. At the beginning I wasn’t part of the music. Now I am.

Recall for us your gig nightmare – that one show where everything that could go wrong went absolutely …wrong? There used to be these yearly shows called the Hootenanny. One year, the Stray Cats reunited to play the Hootenanny and the Cadillac Tramps were on the bill. I remember feeling really charged up and excited as we took the stage. Unbeknownst to us, our drummer had gotten really drunk in the lead up to our set. So instead of the Tramps hitting the stage like a wildcat, it was more like a beached whale. Horrible.

Who are some of your favorite bass players? Who were the players that inspired you even if you don’t play like they do? I guess I could bring up the usual suspects, like McCartney or Jamerson. There was a time that I really wanted to be and play like Paul Gray, but now as I’ve gotten older, I find myself being more of a ‘dug in, in the pocket’ groove rhythmic player. And I’m amazed by guys like Conrad Lozano or the Mighty Gil T or John Baz. You can’t teach the way those guys play.

 Aside from The Lonely Streets – what more would you like to accomplish before you call it a career? Once again, I just want to have fun playing music that I like. As long as that’s happening, I’ll never call it a career and I’ll go into the box playing.

Breaking News: Warren has waxed a new slab with Manic Hispanic slated for summer release!

For all things Greg Antista and The Lonely Streets Visit https://www.gregantistaandthelonelystreets.com

Dig Greg Antista and The Lonely Streets Video for the Track “Good Night Ramona”

 

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

The year was 1975 and I’d just returned from what would be the final Faces gig in Long Island, New York. Under the banner of Rod Stewart & The Faces – the performance was a decidedly over-the-top Roddish affair with almost the entire set list consisting of selections from the rooster haired rocker’s solo slabs, save for rollicking renditions of “Memphis,” “Miss Judy’s Farm” and “Stay with Me,” all from the classic 1971 Faces platter A Nod Is as Good as A Wink…  

 By this juncture, The Faces’ heart and soul and most gifted songwriter – Ronnie Lane – was long gone. Frustrated with the trappings of stardom, Ronnie went solo with a new band – aptly titled Slim Chance. In his place for that tour stood bassist Tetsu Yamauchi. A competent player, as his history with Free and other studio work proved, but no one could replace our beloved Plonk. And even Ronnie Wood had an understudy – Jessie Ed Davis – another great player, but not of the Faces musical ilk.

 No Ronnie Lane meant no “Stone,” “Richmond,” “You’re So Rude,” “Last Orders Please,” “Debris,” or “Glad and Sorry,” among others. Sacrilege!

 By then Ronnie’s solo slabs, Anymore for Anymore (1974) and Slim Chance (1975) were staples on my turntable. And they were hard discs to come by in the States, available only as imports at import prices at Bleecker Bob’s in gritty New York City. But a fan’s gotta do what a fan’s gotta do!

I’d say that a select few of us among the nearly sold-out show in the middle of suburbia would have preferred an intimate Slim Chance gig to the rock star showboating of Stewart and then-new Rolling Stone Woody. However there was slim chance of that happening, as Ronnie’s rootsy ensemble, though an artistic triumph, was not commercially viable in the burgeoning days of punk, prog, and rock music’s transformation from a niche artform to a bona fide segment of show-biz.  

 Fast forward to forty years or so to The Half Moon in Putney, London. Mark Preston, Derek Hanlon and I are filming Know Your Bass Player. I’m interviewing Slim Chance bassist Steve Bingham whose lines I’d learned as a teenager. With Lane singing lead and playing rhythm – Ronnie needed a bass player with character. Enter Bingham!

In 2010, years after Lane’s passing, Slim Chance reformed. Their goal was “to create a show which celebrates the range of Ronnie’s later music: to take this show to people in village halls and clubs, festivals and theatres at home and abroad; and eventually, joined by numerous friends, to resurrect the Passing Show itself.” Mission accomplished.

 New Cross Road is the “newly reformed and unrepentant” Slim Chance’s third release on their own Fishpool imprint.  Once again the lads – bassist vocalist Steve Bingham; Charlie Hard on vocals, fiddle, accordion, and keys; Billy Nicholls on vocals, mandolin, acoustic guitar; drummer Brendan O’Neill; the always nattily attired Steve Simpson on vocals, guitar, mandolin, and fiddle; and Geraint Watkins on vocals and keys – render a few Ronnie Lane gems, along with newly composed songs, and a Who number “Squeeze Box.”

Check your album credits and concert memories and you’ll discover these local legends alongside Eric Clapton, Rory Gallagher, The Who, Ian Dury, Frankie Miller, Geno Washington, Carl Perkins, Van Morrison, Eric Bibb and Pete Brown, Colin Blunstone, to cite a few. More on that below!

As Steve Bingham is among my bass heroes, I put his name in the headline, and conversed with him about Slim Chance’s latest offering. I love talking to my record collection!

Slim Chance has been reformed and unrepentant for nearly a decade: how has the band evolved since Charlie and Steve Simpson decided to give Ronnie’s ensemble another shot?

Since Charlie Hart and Steve Simpson first decided to get Slim Chance back together nearly 10 years ago it has evolved in many ways. The core original members of Charlie and Steve together with myself and keyboard/vocal legend Geraint Watkins have remained the same but there have been quite a few changes of other personnel over the years. It’s a long story why various members have come and gone but the most important thing for us is that the band is now the best it’s ever been and very settled. Key factors are the addition of Brendan O’Neil on drums who spent 10 years working with the legendary Rory Gallagher and Billy Nicholls who spent many years as the Who’s director of music and is also a highly respected and hugely successful songwriter. 

Comment on the dynamic of Slim Chance in that no single member is the focal point – the lead vocals, solos, are all shared among the band! How do you thrive sans a sexy, strutting lead singer!

One of the main factors with Slim Chance is that there is no one member of the band who is the front man as we all take turns singing lead vocals and share backing vocals, solos etc. which at first prompted comments about us having no focal point but over the years people have come to respect us for what we do and it’s worked to our advantage as it makes us hugely flexible with loads of different options to suit every occasion! 

New Cross Road is self-produced with help from Pat Collier – how do six geezers agree on anything! Or was it a matter of whomever wrote the song takes control over the production?

Our latest album New Cross Road was produced by the band along with studio owner/engineer Pat Collier who is incredibly talented and had a huge impact on the recording. Of course it’s difficult with 6 different opinions sometimes ringing around the control room but we quickly realized that it was all sounding so good that the small details were not things to argue about and Pat’s sound advice always seemed to shine through making the whole process hugely enjoyable. 

Once again New Cross Road sounds like Slim Chance playing in my living room – were most of the tracks cut live? Certainly you worked them out on stage as the tracks swing and have a warm resonance. 

All of the tracks on New Cross Road were recorded live with us all in the studio having lots of fun! Most of them were first takes as we’d spent a few days in a rehearsal studio before the recording sessions and of course many of them had been played live several times so we were all really familiar with the songs and there was such a good atmosphere in the recording room that it was almost like playing a live gig! Many people have already commented on the fact that it sounds like a band having fun and really enjoying themselves and we’re all really pleased with the spirit and vibe of the album. 

I dig the unison lines on “Flossie Lane”- what horn part inspired that lick? Where is Flossie Lane? Does it really exist? What’s the story behind this song?

“Flossie Lane” is a song I wrote all about a pub landlady!! The pub in question is the Sun Inn in Leintwardine Shropshire and it’s one of only a handful of “Parlour Pubs” left in the UK. The landlady of the pub was Flossie Lane -no relation to Ronnie- and she was Britain’s oldest publican when she died aged 94. The pub has now been extended but originally you walked in and Flossie’s room was to the left with the drinking room to the right…basically her house!! Amazingly the new owners kept her room and the bar room exactly as it was when she died and they were kind enough to allow us to film a video of “Flossie Lane” there recently which will be released to social media soon! 

The main unison line which is played by everyone was composed on the bass over a number of months as I wanted a really good riff to hold the song together. I just had to write the song about Flossie after my wife and I visited the pub some years ago and I thought then what a wonderful story it would be for a song. It did take a few years to materialize but it’s been well worth it and to hear it with the video is amazing because all of a sudden the lyrics come to life in the very room where she lived. 

 Interesting that Slim Chance chose to render “Chicken Wired” and “Annie” from Rough Mix – what inspired the band to remake those two Lane gems?

“Chicken Wired” was a song that first appeared on Ronnie’s first solo album “Anymore for Anymore” which I played bass on and I also played it live with him many times in 1974 when I toured the country with RONNIE LANE’S PASSING SHOW. We tried in the set some years ago but for some reason it didn’t work. However, when Brendan joined on drums it became a barn-stormer so it had to go on the album! 

Billy Nichols does a fantastic job on “Annie” and sounds to my ears, a bit like Ronnie with his pitch and timbre – thoughts?

“Annie” is a lovely song sung beautifully by Billy Nicholls who was a good friend of Ronnie back in the day and he has a very similar voice with an incredible range so he was the perfect match! 

 Do you have any plans to play Daltrey and Townshend the Slim Chance version of “Squeezebox” – terrific rendition – it’s a real rave up – superior to the original to my ears!  What prompted this recording?

“Squeezebox” is a song we’ve played on and off live for a few years now and we chose to record it this time around as we wanted a bit more punch to the album and it really came out great with the very first take! Billy Nicholls played it to Pete Townshend who absolutely loves it and he’s said really nice things about the album as a whole.  

When I saw Slim Chance render “Debris” at The Half Moon – it brought the house down – how did you approach cutting a song that is such a classic? Let’s review the “Debris” bassline – Ronnie cut it on fretless with the Faces and it sounded like an upright – our man Bingham renders sweet upper-register counterpoint, and a grooves mightily in the pocket – talk about your approach to the bass track – very, very soulful! Did you cut that on the Mustang with flats?

“Debris” is a classic Ronnie Lane song and we’ve been playing it live for a few years now. It always goes down a storm and Geraint Watkins delivers a superb vocal performance along with a very soulful track which we are all very proud of. We approached it exactly as we would on a gig. The structure of the song is always the same but we all have total freedom in how we play it and it’s wonderful to play the bass on this one because I never play it the same way twice and the last few choruses are really wild! I often think of the great James Jamerson when I play this and there are definitely influences of his wonderful playing on what I do. I’d like to think he’s listening with approval somewhere!! The actual bass I used on all of the recordings was a 1961 Fender Precision owned by Charlie Hart. Heaven only knows how long the round wound strings have been on it but they still sound great! It’s prompted me to have my own 1963 Precision restored which I should get back in the summer! 

Ian McLagen and the Bump Band covered “Spiritual Babe” – tell us about the Slim Chance version.

“Spiritual Babe” is a lovely song written by Ronnie in Austin Texas when he was very ill. It’s a lesser known work but a beautiful song with heartfelt lyrics which we decided needed to be on the album. It’s one of those songs that you have to sit down and really listen to but if you’re prepared to get into it then you won’t be disappointed. The vocal was a first take which I only intended as a run through but the band and Pat Collier wouldn’t let me do it again as they all thought it was perfect and in hindsight I’m glad we left if how it is! 

Despite the fact that digital technology permeates every aspect of our lives, folks still yearn to hear real voices and acoustic instruments – why is the sound of Slim Chance more relevant in 2018 than it may have been back when Ronnie started the band in ’74?

One thing that has kept the band together and continues to be inspirational is the reception we get when playing live. We are not there to be pop stars or posers as our only aim is to play great live music with heartfelt soul and to give the people who come to see us something to smile about. Our gigs usually end with one big knees up and everyone is happy at the end of the show which is why we continue to do it! 

Explain the significance of the album title New Cross Road.

New Cross Road is a road that runs between the Elephant and Castle and New Cross in South East London and it’s where we rehearse!! We were all sitting on a hot summer’s afternoon debating what to call the album and nobody could agree on a title until somebody (I can’t remember who!) came up with the idea of calling it New Cross Road which we all immediately agreed on and the meeting was finished allowing us all to go to the pub! 

We had a great time making New Cross Road and it shows in the recordings. We laughed all the way through it and I think the years of playing the songs live make this album our best to date and we’re now looking forward to promoting the album on live gigs and doing what we do best which is enjoying the thrill of being in a fabulous live band. 

New Cross Road is out now on Fishpool Records.

For all things Slim Chance check out: http://slim-chance.co.uk/

 Watch Steve Bingham on Know Your Bass Player On Film: https://bit.ly/2DRsqsD

Huffington Post: Tom Semioli Slim Chance: And the Band Plays On The Move (2016)   https://bit.ly/2DfKEjg

Huffington Post: Tom Semioli Ronnie Lane and Slim Chance Are Alive and Well (2014) https://bit.ly/2SFMLEc

STEVE SIMPSON vocals, guitar, mandolin and fiddle, has worked with Frankie Miller, Eric Bibb, Roger Chapman, and played on Ronnie Lane’s Slim Chance, One for the Road and See Me.
www.stevesimpsonguitar.com

CHARLIE HART vocals, fiddle, accordion and keys, has played with Pete Brown, Ian Dury, Eric Clapton and worked on Ronnie Lane’s Slim Chance, One for the Road, Rough Mix, See Me, Rockpalast.
www.charliehart.com

STEVE BINGHAM vocals and bass, played with Geno Washington, the Foundations, Colin Blunstone, worked on Anymore for Anymore, played bass on The Poacher and toured with the Passing Show
www.stevebingham.blogspot.co.uk/

GERAINT WATKINS vocals and keys has played with Carl Perkins, Nick Lowe, Van Morrison, released his own albums and joined Slim Chance for the 2004 Ronnie Lane Albert Hall concert.
https://en.wikipedia.org/wiki/Geraint_Watkins

BRENDAN O’NEILL, drums, has worked with Rory Gallagher, Nine Below Zero, Glen Tilbrook to mention a few. Brendan knew Steve Marriott and is highly respected for his all round musicianship.

BILLY NICHOLLS, vocals, mandolin and acoustic guitar, knew Ronnie well as he and the Small Faces played on each other’s records back in the Sixties. Since that time Billy has been a prolific and successful songwriter and singer and has also worked extensively with The Who.
www.billynicholls.com

 

 

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

 

As documented by this writer in a Huff Post interview with Rod Argent and Colin Blunstone  http://bit.ly/2roZH8X The Zombies are that rare legacy ensemble that refuses to coast on past glories.

And given their continued mastery of composition, recording, and performance, why should they?  

On this 2015 slab aptly titled Still Got That Hunger, Jim Rodford recalls his early rhythm and blues roots with Mike Cotton Sound, plying soulful passages which underpin the band’s present day prog-pop posture. Jim’s crisp tone, harmonic and pocket playing is superb (as always) and up front in the mix on yet another song-cycle which proves that The Zombies never really needed to make a “come-back!”  

Dig “Movin’ On” https://youtu.be/jLlu9FVM1cE

Dig Jim Rodford’s Know Your Bass Player on Film Playlist https://bit.ly/2UJrA8g  

“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!)