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Steve Garvey (The Buzzcocks)

Rock lore on the “buzz” inspiration of their band moniker ranges from a reference to the Manchester drug scene to a line lifted from the British television series Rock Follies, whereas “cock” is simply local slang for a mate: “It’s the buzz, cock!”

Regardless, The Buzzcocks were among the most influential bands to emerge from the UK punk – new wave era with their deft combination of pop melodies as penned by Pete Shelley, stripped down arrangements, and boundless energy.

Employing no frills four-to-the-bar roots passages to creative counter-melodic motifs, the bassist during the band’s glory years was Steve Garvey, who anchored some of their finest singles along with The Buzzcocks’ essential early canon: Another Music in a Different Kitchen (1978), Love Bites (1978), and A Different Kind of Tension (1979).

Garvey, who also moonlighted with pop punks The Teardrops (which also included members of The Fall and PIL) and drummer John Maher were a ferocious rhythm section which grooved mightily at a frenetic pace.

After The Buzzcocks’ initial split in 1981, Garvey worked with Steve Diggle (50 Years of Comparative Wealth / 1981), toiled in various ensembles, produced, lectured, and returned to the band briefly in the early 1990s for one of their numerous reunions.

Steve Garvey Sound & Vision with The Buzzcocks

“What Do I Get” https://youtu.be/iMXR7w76VZU

“Everybodys’ Happy Nowadays” https://youtu.be/pf2DgSJuUHc

Lamar Williams (Allman Brothers)

Lamar Williams with Sea Level as Photographed by Wade Gradia

By Thomas Semioli

As cited by this writer in Huffington Post, No Depression, and Know Your Bass Player; he belongs in the Rock and Roll Hall of Fame as a member of the Allman Brothers Band.

Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame https://bit.ly/2njxaxZ

The original line-up of the ABB with Duane Allman and bassist Berry Oakley was watershed, melding blues, jazz, and roots music unlike any other American band before or since. Yet the second incarnation with pianist Chuck Leavell and the late Lamar Williams in the bass chair – took that template and despite deep dissension within the ranks, waxed two studio slabs and a live two-fer which brought the ABB to a much wider audience.

Lamar, who carved his plectrums from Clorox Bleach containers, was a far more in-the-pocket player than his predecessor Mr. Oakley. As such – Chuck, Gregg, Butch, Richard, and Jaimoe had space aplenty to further groove and improvise. To my ears, Lamar’s finest work with the Brothers was on the only studio album wherein he appeared on every track: the flawed but occasionally dazzling Win, Lose or Draw (1975) as evidenced on Betts’ brilliant “High Falls.”

After the band’s demise, Lamar founded the jazz fusion ensemble Sea Level with Jaimoe and Chuck, which waxed two fine platters in 1977: Sea Level, and Cats on the Coast.

Williams passed at the age of 34 in 1983 due to exposure to Agent Orange while serving in Vietnam.

“High Falls” https://youtu.be/4b8mJBGon98

“Jessica” from Brothers and Sisters https://youtu.be/mffO67ZPFCg

Lamar with Sea Level: https://youtu.be/cJBcWl0IZXw

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Tom Petersson (Cheap Trick)

Courtesy of Cheap Trick Com

Elo Kiddies!

He anchors one of the most influential (and mostly underrated) American bands to emerge in the post-Beatles era. Duly deified by generations of hard rockers, punks, metal heads, classic rockers, and alternative / indie musicians alike, these four Rockford, Illinois elder statesmen of the almighty power-chord / pop hook have distinguished themselves far above and beyond those who followed in their path and subsequently sold more records, and garnered more recognition.

The bassist born Thomas John Peterson is the inventor and pioneer of the remarkable 12-string bass – a trailblazing instrument he first conjured circa 1977.

Forging a distinctive “wall of sound” Petersson’s revolutionary craft is an essential component in Trick’s signature sound – and one which the band’s legions of imitators can never replicate. Profoundly influenced by Ron Wood’s contrapuntal approach to the bass with The Jeff Beck Group, Petersson’s watershed tone melds the resonance of a traditional electric bass and a 12-string guitar.

Tom’s bass motifs are borne of rock ‘n’ roll purity- vacillating between unabashed bombast and melody within the framework of a single pop song. Even the lesser entries in the untouchable Cheap Trick canon oft surpass the best work of their countless disciples.

A philanthropist, Tom and his wife created Rock Your Speech to support children affected by Autism Spectrum Disorder.

Tom’s busman’s holiday activities included collaborations with Donovan, Sir Mick, Frank Black, and Willie Nelson.

Petersson’s current weapon of choice is Gretsch. A collector of instruments, Tom has worked several basses on stage and in the studio including Mike Lull, Gibson Thunderbird, and of course, Hamer.

Tom Petersson Sound & Vision….

Cheap Trick:

“Rebel Rebel” https://youtu.be/7RdXR1Mxfy4

“Heart on the Line” https://youtu.be/CPguBCxXql0

“You Got It Going On” https://youtu.be/BPQ137ckGAQ

“Welcome to the World” https://youtu.be/Kw6MMPQfQyc

Dig Tony Senatore’s renditions of some of Tom’s top tracks:

“World’s Greatest Lover” https://youtu.be/uOmrMF-Gsnc

“He’s a Whore” https://youtu.be/toFZ-hJteRc

“Baby Loves to Rock” https://youtu.be/DRBcCs-E1TQ

“Surrender” https://youtu.be/qhpAEW_3jGM

“Dream Police” https://youtu.be/uAQgDzhvEpk

T-Bone Wolk (Hall & Oates, SNL)

He was nicknamed in reference to Aaron Thibeaux “T-Bone” Walker by his pal, frequent bandmate, and ace guitarist G.E. Smith.

Tom Wolk anchored the Daryl Hall & John Oates band during their 1980s glory years and beyond, plying mighty grooves with his vintage instruments (mostly a Fender Precision) on such seminal tracks as “Maneater,” “I Can’t Go for That (No Can Do),” “Method of Modern Love,” and “Downtown Life” to cite a very select few.

An accomplished producer, guitarist, accordionist, songwriter, musical director, and first call session cat, Wolk also anchored The Saturday Night Live House Band (1986-92), Elvis Costello (King of America, Spike, Mighty Like a Rose), Willie Nile, Roy Orbison (King of Hearts), Carly Simon, Bette Midler, Billy Joel, Cyndi Lauper, Shawn Colvin, Eve Moon, New York Yankees centerfielder Bernie Williams, and the solo works of both Daryl and John, among scores of others.

T Bone Wolk Sound & Vision:

Hall & Oates: “Family Man”https://youtu.be/-oiqiYdWXiM

T-Bone tearin’ it up on stage at the Liberty Concert with his modded out Fender Precision: https://youtu.be/ZRTTES4BZ04

An engaging personality and live performer, check out the 30th episode of Live From Daryl’s House for a heartfelt musical tribute to late, great Mr. Wolk as rendered by his peers. https://youtu.be/Oxtb_zjdd6k

Mikey Craig (Culture Club)

Courtesy of Culture Club Com

Aside from the Boy’s extraordinary vocal prowess and proclivity to draw massive attention for his celebrity excesses and choices of haberdashery – time has shown Culture Club to rank significantly high among the most influential ensembles of their era of their by way of their unique and infectious interpretations of reggae, soul, dance, rhythm & blues, and pop song-craft.

Bassist Mikey Craig was the band’s not-so-secret weapon. With an articulate warm tone which he plied prominently from his MusicMan Stingray, Mikey’s bass artistry was intrinsic to Culture’s canon, forging melodic grooves that floated over the bar-line, resonated on dance floors, FM radio, boom boxes, and a device known as The Sony Walkman.

After Club crashed, Craig utilized his talents as a producer, DJ, and guest artist, most notably with Kid Creole and the Coconuts. Craig also participates in various Culture Club reunion shows.

Mikey Craig Sound & Vision…

“Do You Really Want To Hurt Me.” https://youtu.be/2nXGPZaTKik

“Karma Chameleon” https://youtu.be/JmcA9LIIXWw

“Church of the Poison Mind” https://youtu.be/HVzAH0FtNwg

Mark King (Level 42)

Courtesy of Mark King Com

In the company of the finest bassists to ever emerge from the UK, Mark King took the instrument to the top of the charts as a rhythmic and harmonic force with Level 42 in the 1980s.

Known for his tuneful, dexterous slap style, Mark is that rare player who can render contrapuntal lines whilst crooning beautiful melodies as evidenced on the band’s remarkable run of albums and singles throughout the decade which were an intriguing mélange of pop, jazz, funk, soul, and dance.

Mark also distinguished himself on sessions with Midge Ure, Nik Kershaw, and renowned British comedian Alexei Sayle, among others.

As Level 42’s commercial fortunes waned in the 1990s and the group split, King waxed a few commendable albums under his own name.

However when Level 42 reunited and released Retroglide (2006), to my ears, primary members Mark King and keyboardist –vocalist Mike Lindup sounded better than ever.

Dig “Lessons in Love” from the 30th Anniversary World Tour https://youtu.be/R26M6EpMRcU

Steve Severin (Siouxsie & The Banshees)

Co-opting his stage name from the Velvet Underground classic “Venus in Furs” the songwriter, producer, multi-instrumentalist, recording artist, soundtrack composer, and bassist born Steven John Bailey co-founded the iconic goth – post punk rockers Siouxsie and the Banshees.

A mostly no-frills roots player who uses “upstrokes” with a plectrum on a Fender or MusicMan Stingray bass, Severin employs a myriad of ethereal effects ranging from flange, chorus, delay and countless variations thereof to create a signature tonal character.

In addition to his Banshees canon, Steven waxed several sides under his own name and has collaborated with numerous artists and ensembles, most notably Marc Almond, Lydia Lunch, and The Glove with Robert Smith, to cite a select few.

Steve Severin Sound & Vision…

Siouxsie and the Banshees:

“Cities In Dust” https://youtu.be/wsOHvP1XnRg

“Spellbound” https://youtu.be/TjvvK-Rj0WI

“The Staircase” https://youtu.be/K9c1Um74jFY

“Painted Bird” https://youtu.be/y5jmB4xgNWw

Colin Moulding (XTC)

Photo by Don Pyle – Courtesy of Ape UK Net

Colin Moulding’s bass artistry within the context of XTC – a multifaceted pop rock collective which he founded with Andy Partridge – is testimony to the fact that a bassist can play any note over any chord as long as it has a purpose!

A self-taught player, a prolific composer and vocalist – Moulding’s approach to the instrument seamlessly melds supportive and countermelodic passages akin to Sir Paul, Brian Wilson, and Chris Squire, to reference three icons.

From XTC’s power punk beginnings as evidenced on White Music (1978), their forays into mainstream song-craft as found on Black Sea (1980) and English Settlement (1982), on through to their psychedelic pop masterpieces Skylark (1986), Oranges & Lemons (1989), and Nonsuch (1992) – and the band’s trippy side-project The Dukes of the Stratosphear – Colin and XTC combine The Kinks’ intelligent British disposition with The Beatles and Beach Boys mastery of melody and studio recording.

Methinks if XTC had not refrained from touring early in their career, they would have achieved enduring, worldwide commercial success.

In 2017 Colin and former XTC drummer Terry Chambers under the moniker of TC& I waxed a self-titled EP and commenced to live performances.

Colin Mounding NOTES FROM AN ARTIST Interview with co-host David C. Gross

Colin Moulding Sound & Vision…

With XTC:

“Making Plans for Nigel” https://youtu.be/mfsYSPCNWCw

“Senses” https://youtu.be/hzGfKu6_loI

“Summer Cauldron” https://youtu.be/HJQnaMWlQdQ

“Generals & Majors” https://youtu.be/p-JeQduJ0f8

“Mayor of Simpleton” https://youtu.be/5Da9sc6YDBo

“Ballad of Peter Pumpkinhead” https://youtu.be/pYupSHWEJxA

With Dukes of the Stratosphere:

“My Love Explodes” https://youtu.be/HfWDNwdjm60

With TC & I:

“Scatter Me” https://youtu.be/Zkh_0ejs12Y

John Gustafson (Roxy Music, Ian Gillan)

A contemporary of the Beatles by way Liverpool ensembles such as The Big Three, which were managed by Brian Epstein on the recommendation of John Lennon, and The Merseybeats, the late John Gustafson was among the classic rock era’s most versatile and in-demand bassists / vocalists as a band member, session cat, and collaborator.

Gustafson excelled at plying inventive passages in a wide array of styles as evidenced by his work with the jazz-fusion incarnation of the Ian Gillan Band. John was also a groove master with Roxy Music, working the pocket on such seminal sides as Stranded (1973), Country Life (1974) and Siren (1975), including Ferry’s signature composition “Love is the Drug.”

An accomplished singer and solo recording artist, John was the voice of “Simon Zealotes” on the original Jesus Christ Superstar (1970) and rendered the vocals to “Watch Out for the Bat Now” for Roger Glover’s rock opera The Butterfly Ball and the Grasshopper’s Feast (1974). Gustafson also anchored scores of seminal sides with Quartermass, Kevin Ayers, Ian Hunter, Rick Wakeman, Yvonne Elliman, Gordon Giltrap, Phil Manzanera, Steve Hackett, and Shawn Phillips, to cite a very, very select few.

John Gustafson Sound & Vision…

The Merseybeats “I Think of You” https://youtu.be/xroTLNvW2D4

The Big Three “I Got It” https://youtu.be/X0sJ8tVsHm0

Jesus Christ Superstar “Poor Jerusalem” https://youtu.be/VYfAIt1spGo

Quartermass “One Blind Mice” https://youtu.be/dWyIoBzaPAg

Ian Gillan “Live at the Rainbow” 1977 https://youtu.be/p9oElP5QVpQ

Roxy Music “Love Is The Drug” https://youtu.be/LIMJAuKl9Ko

“Watch Out for the Bat” from Butterfly Ball live 1973 https://youtu.be/dhiHrtRl1bo

With Ray Fenwick “Tight White Shirt” on bass and vocals https://youtu.be/7r317_RwVQk

Ian Hunter “Lounge Lizard” https://youtu.be/lQ7Mm_TkJOE

Says Paul Page, Ian Hunter and The Rant Band bassist: He did the bass track on “Lounge Lizard” from the 1st IH solo album. I’m still intrigued by it whenever it pops up on the set list and I actually borrowed elements from his version when we did the MTH version for the MTH ‘74 shows. It’s just so slippery and groovy.

Joe B. Mauldin (Buddy Holly & The Crickets)

Imagine a world sans Buddy Holly and The Crickets – not gonna happen!

Among the greatest influencers in the history of rock ‘n’ roll – including a group of Liverpool lads who amended their moniker from The Quarrymen to “Beetles” in homage of Charles Hardin Holly’s agile collective – bassist Joe B. Mauldin and drummer Jerry Allison set the enduring template of the rock ‘n roll rhythm section as it exists today – working the pocket with fervor and melody.

Following Buddy’s tragic death in 1959, Maudlin continued with various incarnations of The Crickets, and later worked as a recording engineer at Gold Star Studios in Los Angeles.

The Rock ‘n’ Roll Hall of Fame afforded the late, great Joe Mauldin and The Crickets their due honor in 2012 by special committee.

“Peggy Sue” https://youtu.be/bfu_gfPBPWc

“That’ll Be The Day” https://youtu.be/iL5oeiLv4aY

“The Crickets” Baby My Heart https://youtu.be/9mq-GDsDqNE