By Thomas Semioli 

 

 

“Hey you! Don’t watch that! Watch this! This is the heavy monster sound!”

 

Among the most successful musical and video savvy ensembles to emerge from the UK’s late-1970s “2 Tone” ska revival were six barmy lads from Camden Town, London who appropriately dubbed themselves Madness.

 

With his Fender Precision perfectly tweaked low to further bolster the loveable lunacy of Suggs and his mates, Mark “Bedders” Bedford renders slinky walking bass passages and soulful motifs accented on the upbeat with a decidedly punk attitude that moved a generation – literally!

 

Doubling on upright, Bedders also waxed sides with Moz, Robert Wyatt, and also plies his craft with The Lee Thompson Ska Orchestra formed by the Madness saxophonist. In addition to his Fender P, Bedders among Bedders weapons of choice include the Bass Center Bruce Thomas Signature Bass!

 

Bedders with Madness!

 

“Our House” https://youtu.be/oXA6CLTDekw

 

“One Step Beyond” https://youtu.be/SOJSM46nWwo

 

“Night Boat to Cairo” https://youtu.be/lLLL1KxpYMA

 

“House of Fun” https://youtu.be/GJ2X9SANsME

 

“Baggy Trousers” https://youtu.be/Dc3AovUZgvo

 

Dig Bedders with Mozzer!

 

“Our Frank” https://youtu.be/HkqVB8ci1Wc

 

“Sing Your Life” https://youtu.be/nWszQj2ACw8

 

Dig Bedders with the Lee Thompson Orchestra Live! https://youtu.be/Fh-t0NTB7cw

 

 

By Tom Semioli

I heard you on the wireless back in fifty- two, lying awake intent at tuning in on you… “Video Killed the Radio Star”

 

 

He’s the bassist who composed an anthem which, to my ears, most represents rock and roll’s ascent / descent from an artform into entertainment – or vice versa depending on your cultural disposition.   

 

A multi-instrumentalist, producer, composer (spanning pop songs to soundtracks), collaborator, recording artist, publisher, studio owner, and label owner, among other titles, Trevor Charles Horn learned to formulate triads on the upright from his dad, who was a professional player.

 

Inspired by the major rock artists of the era – The Kinks, Stones, Beatles – Horn paid his dues toiling in several bands and working for a music publisher on London’s fabled Denmark Street, pitching songs and waxing demos.    

 

In 1978, Trevor formed The Buggles with keyboardist Geoffrey Downes, a new-wave collaborative which cut their aforementioned signature hit and consequently enjoyed pop-star fame at the ripe old age of 30.

 

Then things got strange…

 

Sharing the same management team as ye olde progressive progenitors Yes, the burgeoning Buggles buddies found themselves in the group – which caused a major stir among fans who found the close-coiffed thin-neckwear lads anathema to capes, smoke machines, and LP side-long compositions.

 

Their first platter with Yes, aptly titled Drama (1980), was a modest success on both sides of the pond – however the support tour proved otherwise, given that the change from progsters to popsters was too much for both the band and their legions. As such, Downes remained with Yes, and Horn opted for a (safer) career as a producer, which is where Trevor hit his stride.

 

Among Horn’s numerous successes behind the console and as a collaborator include Dollar The Dollar Album,  ABC Lexicon of Love, along with releases by Frankie Goes To Hollywood Welcome to the Pleasuredome, Art of Noise (which Horn was a member), Grace Jones, the Pet Shop Boys, Seal, Robbie Williams, Jeff Beck, and a few slabs with his old mates Yes and their various offshoots which were artistic and commercial triumphs.

 

For his accomplishments, Horn has garnered three Brit Awards, a Grammy, and an Ivor Novello Award. In 2011 his was appointed Commander of the Order of the British Empire (CBDE) for his services to the music industry.

 

On the topic of Trevor the bass player – as you would expect, he is the consummate song player. The last time we checked up on him, Trevor was anchoring The Dire Straits Legacy ensemble and The Trevor Horn Band, among other projects.

 

Dig these Trevor tracks…

 

“Video Killed the Radio Star” https://youtu.be/W8r-tXRLazs

 

“Living in The Plastic Age” https://youtu.be/S3Ecs07in7U

 

The Producers – Two Tribes Live: Trevor Horn, Stephen Lipson, Lol Créme, Ash Soan https://youtu.be/IBWY8oAnnww

 

The Trevor Horn Band “All The Things She Said” https://youtu.be/T231VgvcVx4

 

Yes “Tempus Fugit” https://youtu.be/vzxZzIiO84Y

 

Yes “Into the Lens” https://youtu.be/qXhYsMEjsZ8  

 

Art of Noise “Close (To the Edit)” https://youtu.be/-sFK0-lcjGU

 

The Dire Straits Legacy “Walk of Life” https://youtu.be/iN8StueiLpw

 

By Tom Semioli

“I’m hooky by name, hooky by nature!”

 

A legend, innovator, multi-instrumentalist, composer, producer, author, club owner, educator (University of Central Lancashire) , and anchor of two of iconic ensembles, he is an instantly identifiable master of the electric bass… which all began when a shoddy amp forced to him to render upper register motifs and develop a chordal approach to the instrument…and the rest, as they say, is history. 

 

Peter Hook’s tenure in Joy Division and New Order embraced (and practically invented) post-punk, dance, alt-rock, electronica, and permutations thereof.

 

With Joy Division, which Hook founded with Bernard Sumner after witnessing a Sex Pistols performance at the Manchester Lesser Free Trade Hall in 1976, Peter’s unique approach to the instrument served as a countermelodic foil to Ian Curtis’ linear melodies.

 

With New Order, Hook focused more on the pocket, forging dance rhythms which served a supportive role amid the din of synthesizers and polyrhythms. The impact and influence of Joy Division and New Order on modern rock and pop is incalculable. Numerous artists cite them as a touchstone as recording artists and performers.

 

Though he mostly waxes sides with his beloved Yamaha BB1200 (he purchased several when the model discontinued) Hook has recorded and performed with numerous instruments including extended range, Gibson EB, Hondo Rickenbacker, Ecleshall, and Shergold Marathon, among others; which he abets with a wide array of effects. In 2010 Peter had basses constructed from wood from the dancefloor of the Hacienda club where New Order made their bones.

Following his rather acrimonious departure from New Order, Hook has been active as a bandleader, and collaborator, among other endeavors.

Hooky with author, influencer, KYBP superfan, hunk Geoffrey Dicker!

Joy Division …

 

“Wilderness” https://youtu.be/tZhKV32Vf7U

 

“Love Will Tear Us Apart” https://youtu.be/zuuObGsB0No

 

“Transmission” https://youtu.be/6dBt3mJtgJc

 

New Order …

 

“ Leave Me Alone” https://youtu.be/JEJpmDUMKco

 

“The Perfect Kiss” https://youtu.be/x3XW6NLILqo

 

“Blue Monday” https://youtu.be/LQaehcfXvK0

 

“Regret” https://youtu.be/71ZHVmSuBJM

 

“Sunrise” https://youtu.be/KQfV-9tv6Ag

 

With Freebass featuring Andy Rourke and Mani…

 

“The God Machine” https://youtu.be/SMiKVwInp7g

 

Peter Hook and The Light at the 2020 Salford Music Festival https://youtu.be/1bjUYyePhyo

 

 

Nick Beggs, bassist, by Tom Semioli 

 

Seminal Sides: Nick is yet another cat wherein if you discover his name in the credits, buy (stream) the slab! However for our purposes , do check out… Kajagoogoo White Feathers (1983), Genesis Revisited with Steve Hackett (2012), Do Nothing Till You Hear From Me, The Mute Gods (2016); 

 

Artists / Bands: Kajagoogoo, The Mute Gods, Fish On Friday, Howard Jones, Steve Hackett, Gary Numan, Alphaville, Belinda Carlisle, Emma Bunton, John Paul Jones, and Steve Wilson to cite a select few.  

 

You’re too shy shy, hush-hush, eye to eye…

 

It is paraphrased (by this writer) that “if you remember the 1980s – then you weren’t really there.” However, I was there, and I vividly recall the first time I heard this inescapable pop ditty “Too Shy” underpinned by a killer slap bass passage as rendered by Nicholas Beggs.

 

This Winslow, Buckinghamshire native first came to prominence as the anchor of the early ‘80s chart-topping, teen heart-throb Brit collective which worked under the moniker of Kajagoogoo – a name inspired by the sounds an infant (and a few heads of state…) utter in an attempt to communicate.

 

As is the fickle fate of many in the music biz, Kajagoogoo commercially flamed out following their fine dance-pop debut White Feathers (1983) upon the exit of their (gorgeous) lead singer Limhal (Christopher Hamill), and despite waxing two rather commendable platters under the truncated Kaja calling- card. They called it day in ’85 though they’ve since reunited on occasion.  

  

Yet the demise of the ‘Googoo, as we affectionately refer to them, did not derail Beggs. In fact, it was just the beginning of an adventurous career as a prolific composer, collaborator, producer, clinician, vocalist, sideman, educator, journalist (Bass Guitar Magazine, Loudersound, Music Radar ) solo recording artist, and record label executive (A&R Phonogram), among other endeavors.

 

Among Beggs’ projects which beg recognition include prog ensembles Iona, Fish On Friday, and The Mute Gods.

 

Nick has also toured and/or recorded extensively with Howard Jones, Steve Hackett, Gary Numan, Alphaville, Belinda Carlisle, Emma Bunton, John Paul Jones, and Steve Wilson to cite a select few.  

 

Nick’s weapons of choice include a MIDI modded out Chapman Stick (“Virtual Stick”), Fender Jazz (fretless), Spector 4,5, fretless), a Manson Double-Neck Nick Beggs Bass, Rickenbacker 4003, MusicMan Stingray, Wal (4,5 string), and Vigier Arpege, among others.

 

Beggs enjoys a high profile in the bass community – there are numerous videos and features wherein he demos products, lectures on the craft, discusses his approach to the instrument(s) and his life philosophies which are worthy of your exploration!  Beggs is a strong proponent of music education – advising bassists to read, study theory, technique, and above all “listen” and play in as many situations as possible!

 

We had him selected for a KYBP on Film interview in 2019 however scheduling prevented our meeting, but when we return, we’ll talk with Nick.

 

In the meantime, dig these Beggs bass guitar and stick tracks:

 

Kajagoogoo “Too Shy” https://youtu.be/rkpG4XApJ28

 

Kaja “The Lion’s Mouth” https://youtu.be/tU_ik6msJDM

 

Iona “Flight of the Wild Goose” https://youtu.be/0nKiOCLcnMU

 

Fish On Friday “Letting Go of You” https://youtu.be/0nKiOCLcnMU

 

The Mute Gods “Feed The Troll” https://youtu.be/7oinol5pNWY

 

The Mute Gods “One Day” with Alex Lifeson https://youtu.be/9oO4PQDemQE

 

With Steve Hackett working a Rickenbacker 4003 “Tubehead” https://youtu.be/LRbvUtTTutA  and “Everyday” https://youtu.be/KUZdQnMKuNQ

 

Howard Jones Acoustic Trio “What Is Love” https://youtu.be/FhtFZGOfrXc

 

“Portrait of Tracy” “Words Fail Me” https://youtu.be/7u-FwNLPyOk

 

Beggs Plays Steve Wilson (snack and nail file included)  “Personal Shopper” https://youtu.be/uROM05_ARxc

 

 

No ensemble captured the zeitgeist of the MTV era more so than Duran Duran and their bassist Nigel John Taylor. Though oft derided as “video stars” more so than musicians, this Birmingham lot had the chops as players, recording artists, and performers to go the distance and then some as they remain a force – albeit nostalgic – on the bandstand and recording studio.  Nice work if you can get it! 

 

Profoundly inspired by David Bowie’s Berlin-era anchor George Murray, assorted Roxy Music players, and Chic’s Bernard Edwards (John now owns his MusicMan Stingray bass), Taylor’s basslines – as played on an Aria II model – waxed with Duran Duran and the super group that actually lived up to its name – The Power Station- created the hooks that made the hits.

 

Aside from Duran x 2, John has cut solo sides, authored a fine memoir In The Pleasure Groove, acted on film and television, and collaborated with simpatico pallies including Steve Jones, Duff McKagan, and Matt Sorum in Neurotic Outsiders.

 

 

John Taylor Sound & Vision…

 

Duran Duran

 

“Last Chance on the Stairway” https://youtu.be/quqp_PeWc6A

 

“Tiger Tiger” https://youtu.be/3pScycbJX60

 

“Rio” https://youtu.be/nTizYn3-QN0

 

“Notorious” https://youtu.be/Z9z0e1Wm64M

 

Power Station

 

“Get It On Bang A Gong” https://youtu.be/O2vHbXI2p4k

 

“Some Like It Hot” https://youtu.be/Hw1t7OCESUw

 

Neurotic Outsiders 

 

“Jerk”  https://youtu.be/bOs3wBAfwMo 

 

Coda: Taylor’s chorus enhanced tone and nifty combination of finger and slap style was in such high demand in the 1980s that I ventured to Denmark Street in London to appease the US producers who employed me and brought home an Aria II bass for sessions as said instrument was not available stateside in them days! That’s how influential they were.

 

 

John Taylor with author, influencer KYBP Super Fan Geoffrey Dicker

 

 

 

He is the Mac in Fleetwood Mac!

 

Seminal Sides: John Mayall & The Blues Breakers with Eric Clapton; Then Play On (1969), Future Games (1971), Mystery to Me (1973), Fleetwood Mac (1975), Rumours (1977), Tusk (1979), Live (1980), Say You Will (2003).

 

The late, truly great British blues guitar icon Peter Green was clever to name his fledgling ensemble for drummer Mick Fleetwood and former tax inspector / bassist John Graham McVie. Acknowledged among the most identifiable and flexible rhythm sections in rock history, Fleetwood’s bona fide Mac is a consummate song player – from pop to improvisatory blues.

 

Born in London in 1945, John commenced his musical journey as a teen, moving from trumpet, then to guitar, and then to bass when his dad purchased a snazzy Fender akin to Jet Harris – which must have cost a small fortune in the economically depressed post-war UK! 

 

McVie’s tenure in John Mayall’s Blues Breakers commenced when he was still relatively new to the instrument. Yet McVie help set the template for standard rock blues electric bass: working the lower register, outlining the changes, plying subtle harmonic extensions, and supporting the resident god-like guitar hero with a fat tone.

 

As with The Rolling Stones’ Bill Wyman, Mac’s approach evokes how Willie Dixon might have sounded had he played electric – which is quite logical given that his boss John Mayall (who hired and fired Mac several times) tutored the emerging musician, and was a staunch Dixon devotee.

 

Blues Breakers with Eric Clapton (aka “Beano”) is among the most influential albums of the classic rock era. Note that McVie and drummer Hughie Flint worked the pocket in the service of Mayall and Slowhand with a decidedly swing feel.

 

John McVie Sound & Vision…

 

John Mayall & The Bluesbreakers

 

“All Your Love” https://youtu.be/rUUEtCBhn_Q

 

“Steppin’ Out” https://youtu.be/PkulcvRkd4I

 

With Fleetwood Mac, and its various singer / songwriter / “front persons” including Peter Green, Jeremy Spencer, Danny Kirwan, Bob Welch, Christine McVie, Stevie Nicks, Lindsay Buckingham, Dave Mason, Rick Vito, Billy Burnette, Neil Finn, and Bekka Bramlett, McVie waxed inventive passages in support of the superstar singers and their chart-topping songs and album tracks. Often the subject of his ex-wife Christine McVie’s songs on Rumours, McVie’s weapons of choice included the Fender Jazz, Precision, and Telecaster Bass, and Alembic. Nowadays he’s a Lakland man. In 1992 John waxed his sole solo slab John McVie’s Gotta Band with Lola Thomas.

 

 

 

McVie also worked the occasional session, most notably with Warren Zevon on the classic track “Werewolves of London” with Mick Fleetwood helming the drum chair: https://youtu.be/iKtPOC3VqGs

 

And dig these Deep Mac tracks…..

 

“Rattlesnake Shake” (Then Play On / 1969) https://youtu.be/ob5Q_daCOB8

 

“Coming Your Way” (Then Play On) https://youtu.be/JCEqKVDsa0E  

 

“Station Man” (Kiln House / 1970) https://youtu.be/YSZJFWn7OM4

 

“Sands of Time” (Future Games / 1971) https://youtu.be/1Jkp34jMeEw

 

“Child of Mine” (Bare Trees / 1972) https://youtu.be/F–ImFAn8oU 

 

“Revelation” (Penguin / 1973) https://youtu.be/chcRAWh8Tik

 

“Miles Away” https://youtu.be/3za5HwkfuVQ and “Hypnotized” (Mystery to Me / 1973) https://youtu.be/fDzXbdxeeHI

 

“Bermuda Triangle” (Heroes are Hard to Find / 1974) https://youtu.be/f83nXE0TBvA

 

“Rhiannon” (Fleetwood Mac / 1975) https://youtu.be/jQAK6sVovUk and “The Chain” (Rumours / 1977) https://youtu.be/kBYHwH1Vb-c

 

Photos Courtesy of Fleetwood Mac . Com

 

Photo by Wade Gradia

Greg Lake, bassist by Tom Semioli 

 

Lady Supermarket with an apple in her basket, knocks on the manager’s door… 

 

Seminal Sides: King Crimson, Court of the Crimson King (1969) and In the Wake of Poseidon (1970); Emerson, Lake & Palmer,  ELP (1970), Tarkus (1971), Pictures at an Exhibition (1971), Trilogy (1972), Brain Salad Surgery (1973), Works Volume 1 (1977)

 

Among the most influential, innovative, and revered ensembles of prog rock’s golden era were the original configurations of King Crimson, and Emerson Lake & Palmer – both fronted and anchored by vocalist, bassist, songwriter Gregory Stuart Lake. Prompted to take up the electric bass at the behest of his school buddy Robert Fripp – Lake’s work on Court of the Crimson King (1969) was watershed – his adventurous passages bolstered the ensemble’s frenetic forays into classical and jazz in a rock context.

 

Said Lake on his website “…there is a common thread throughout all the music. The forms may be different, but each one to some degree draws upon inspiration from the past. I am as proud to have been as influenced by people like Elvis and Little Richard as I am by composers like Copeland and Prokofiev and I’m honored when other musicians regard me as one of their inspirations.”

 

With ELP, Lake’s bass artistry served as the rhythmic and harmonic bridge between his two virtuoso mates as they broke ground on each ensuing release.  Lake, akin to Sir Paul, Brian Wilson, and Joe Osborn, was a master of upper register countermelodies. His weapons of choice included the Fender Jazz, and later, the Alembic.

 

Greg’s excellence as a bassist was matched by his excellence as a singer and pop composer: “Lucky Man” (a song he wrote at the age of 12), “From The Beginning,” and “Still You Turn Me On,” among others are defining recordings of the classic rock era.

 

Though his solo career and various ELP reunions – including one incarnation with Cozy Powell in the drum chair – failed to generate any significant attention beyond hard-core fans, Lake’s legacy with King Crimson and ELP as a bassist, singer, composer, and producer is matchless – and worthy of rediscovery and further evaluation by 21st Century schizoid prog rockers! .

 

“21st Century Schizoid Man” live at Hyde Park 1969 https://youtu.be/MM_G0IRLEx4

 

“Cat Food” https://youtu.be/uQuAboEvags

 

“Lucky Man” https://youtu.be/lmT2KvF4P5g

 

“From the Beginning” https://youtu.be/a9kXfW2gIcw

 

“Still You Turn Me On” https://youtu.be/McNQqH3RGGI

 

 

 

He anchored several top bands in his native New Zealand including Healing Force, Chain, and a collective which worked under the moniker of “Mississippi” – which later changed their name to the Little River Band. Bassist Charles Turu Tumahai migrated to London and answered an anonymous Melody Maker classified ad planted by Bill Nelson for Be Bop Deluxe, and the rest, as they say, is history.

 

Why Be Bop Deluxe’s smart meld of progressive, glam, and power pop never achieved wider commercial success ala Roxy Music and David Bowie remains a bona fide rock and roll mystery….

 

Tumahai came on board for Be Bop’s second album Futurama (1975) and was featured prominently on the band’s finest studio set Sunburst Finish (1976) which featured FM radio staples “Fair Exchange,” and “Ships in the Night.”

In addition to his accomplished backing vocal skills, Tumahai, who mostly plied his craft with a Fender Precision and Telecaster bass, incorporated reggae, funk, hard rock, disco, and jazz influences into Nelson’s mesmerizing tales of romance and space exploration.

 

Following the demise of Be Bop, Charles toiled in a few more bands, most notably Tandoori Cassette, which featured former members of Jethro Tull (Barrimore Barlowe) and Nazareth (Zal Cleminson).

 

In 1985 Tumahai returned to New Zealand, working as an activist on behalf of Maori offenders in the country’s prison system, and as an educator. Sadly, Charles passed in 1995 while working in the Auckland District Court of a sudden heart attack at the age of 46.

 

Charles Tumahai  Sound & Vision…

 

Be Bop Deluxe Live at the BBC 1976 “Ships in the Night” and “Fair Exchange” https://youtu.be/I6j6Yo4tjPM

 

…and Live at the BBC “Forbidden Lovers” and “Down on Terminal Street” https://youtu.be/lPDzqllyGH4

 

Healing Force: “Golden Miles” https://youtu.be/NEmsy0UgqoA

 

 

 

Gary Thain, bassist (electric) by Tom Semioli

 

Seminal Sides: Sweet Freedom (1973), Wonderworld (1974) with Uriah Heep, Halfbreed (1969), Overdog (1971) with the Keef Hartley Band

 

Artists / Bands: Uriah Heep, The Keef Hartley Band, The Strangers, Me & The Others 

 

Gary’s playing style on his Fender (Jazz) bass and choice of flat-wound strings made for a distinct sound. He never used a plectrum (pick), preferring to use his thumb, the result being a very pure bass sound without the harsh “attack” sound and harmonics that would normally result from using a pick. Studying Gary’s face and body motions during a performance would reveal a very intense focus on his part for the particular song being performed. Todd Fisher (Uriah Heep crew member – as told to Uriah-Heep Com)

 

‘Twas a time when hard rock bassists brought their formidable understanding of jazz, classical, and blues to the genre – as evidenced in the bass artistry of the late, great Gary Thain with Uriah Heep.

 

A master pocket and melodic player Thain paid his dues with the influential Keef Hartley Blues Band in the late 1960s, appearing on such seminal sides as Halfbreed (1969) and Overdog (1971), and lifted Heep into their golden era when he joined the lads in the early 1970s.

 

Though the prog-metal masterpiece The Magician’s Birthday (1972) is considered to be the New Zealand native’s greatest work with the potent Heep, dig Thain’s wicked rhythm and blues grooves which bolster the underrated Sweet Freedom (1973) and Wonderworld (1974)– wherein Gary’s resonate Fender bass work boogies akin to the soul masters James Jamerson, Chuck Rainey, and Jerry Jemmott.

 

After toiling in bands in his native New Zealand, most notably The Strangers which waxed three singles, Gary anchored an ensemble which worked under the moniker Me and The Others. That band toured extensively throughout Europe, wherein he caught the attention of Keef Hartley. Gary cut five albums with Hartley and appeared at Woodstock ‘69, among other high profile festivals.

 

Sadly Gary battled substances and personal problems during his time with Heep, including an on stage electrocution, which he never recovered from. He passed at the age of 27 in 1975.

Gary Thain Sound and Vision

 

 

Dig Gary with The Strangers “Alright” https://youtu.be/EQqSN9JgQBE

 

 

Dig Gary with the Keef Hartley Band:

 

 

“You Say Your Together Now” with Gary on lead vocals: https://youtu.be/9-xGSul9rpk

 

 

“Marin County” https://youtu.be/YEgFRZngk54

 

 

“Leavin’ Trunk” https://youtu.be/6yP1E5YNxBk

 

 

Gary anchoring Keef’s “Little Big Band” https://youtu.be/KsLJjNLx9Mw

 

 

Dig Gary with Uriah Heep…

 

 

“Dreamer” https://youtu.be/6uFsuDnc7l8

 

 

“The Wizard” https://youtu.be/QaRXQkuB2SM

 

 

Live At Shepperton 1974 (“Easy Livin’‘ “So Tired” “Stealin’ “Love Machine” https://youtu.be/RdfHizhN2FE

 

 

Live in Tokyo “Sunrise” https://youtu.be/qVobQTaoV7s

 

 

“Something or Nothing” https://youtu.be/_uHYdB2Sncw

 

Pat Travers, bassist (electric) by Tom Semioli 

 

Seminal Sides: Putting It Straight (1977) Live, Go For What You Know (1979), Crash & Burn (1980), Radio Active (1981) – all with The Pat Travers Band 

 

Artists / Bands: The Pat Travers Band 

 

“What for!” bellowed the late, great Mars Cowling when he heard about Know Your Bass Player!

 

Ask any hard rock, blues bassist with a reverence for history whom they consider to be the true virtuosos of their chosen genre, and they’ll  respond Peter “Mars” Cowling!

 

A self-taught player, the enigmatic, tight trouser-ed (even in his later years!), well-coiffed (always) Grimbsy, England born bassist was a nimble fingered ace. Mars punctuats Pat Travers’ riffage and Tommy Aldridge’s frenetic rhythms with a blinding array of double-stops, slaps, chords, and harmonies galore – all (fashionably) rendered from his sterling white Fender Precision, and often filtered through flange / chorus / phaser effects.

 

Though Cowling was a busy player, he always served the song. If there was a space, Mars filled it and then some… most bassists would have been asked to leave the bandstand, however Cowling’s flash complimented his mates, and served as a rhythmic and harmonic catalyst.

 

The “Mars” moniker: While a member of Eddie Levine and the Escorts, Pete had a habit of consuming Mars candy bars at any given chance – hence Mike Mills, a singer with The Nighthawks, bestowed the infamous nickname “Mars” which stuck with Mr. Cowling throughout his career and personal life!   

Eddie Levine and the Escorts at the Mecca Ballroom in Grimsby 1963 – L to R: bassist Mars Cowling, singer Eddie Levine, lead guitarist “Memphis,” drummer Geoff Knight, and “Migs” on second lead guitar.

Mars Cowling Sound & Vision: 

 

Mars’ signature passage “Boom Boom Out Go The Lights” (live) https://youtu.be/U4XbV3gCm2Y 

 

Mars and Pat on Canadian TV “Hooked on Music” https://youtu.be/OaCWf8LZsiU

 

The mustachioed Mars for an entire 1976 episode of Rockpalast https://youtu.be/bvec0ZVGBnk

 

Here’s Tony Senatore’s rendition of Mars’ passage on “Snortin’ Whiskey” https://youtu.be/WwTuoYW-aYQ

 

Mars Coda: I first met Mars in 1995 in Miami, Florida. At the time, he was working in a band with my close friend, saxophonist Stan Waldman. Mars had forsaken the music biz for the boating biz, which was his first love. Mr. Cowling possessed a wicked, dry British sense of humor (or should I spell that “humour”). He did not suffer fools gladly. I’m forever pleased that our last meeting at Capone’s Flicker Lite in Hollywood Beach Florida (with Tim Ravenna) to hear our mutual friends Stan Waldman and Frank Carmelitano was a grand time – rife with stories, anecdotes, and laughter.  Mars and I talked bass well into the wee hours, and he agreed to appear in KYBP on Film. Sadly we never got that opportunity as he passed shortly after. Like many of the greats, Mars was never keen to talk about himself, rather he let his artistry say everything that needed to be expressed. Godspeed Mars! 

Tim Ravenna, Stan, Frank, Tom, and Mars.

Mars Cowling and KYBP Adjunct Professor Tony Senatore