Rock ‘n’ Roll Hall of Fame inductee Joan Marie Larkin could care less about her bad reputation. However she cares about her bass players as evidenced by the innumerable, potent versions of Joan Jett’s Blackhearts on record and on stage  which featured the formidable talents of Kasim Sulton, Kenny Aaronson, and Joe Vasta. To my ears, the classic line-up of guitarist Ricky Byrd, drummer Lee Crystal, and bassist Gary Ryan was definitive.

Ryan’s, who cut a snarling rocker image on video and on stage, plied lower register passages which exuded harmonic and rhythmic movement within the constraints of three basic chords and a no-frills back-beat, anchoring such killer slabs as Album (1983) and Glorious Results of a Misspent Youth (1984).  

Kudos to Ms. Jett for her dedication, consummate work ethic, songs, and purist rock ‘n’ roll attitude. Nice to see that the Rock and Roll Hall of Fame got it right and inducted the entire band.

Gary Ryan Sound & Vision:

“I Love Rock and Roll” https://youtu.be/wMsazR6Tnf8

“Do You Wanna Touch” https://youtu.be/DSqp-W1pWoU

“Fake Friends” https://youtu.be/Q9kZWlIgKyU

There are a select few players you must see before we depart this mortal coil for that great gig in the sky (I hope they have backline!) …and this is one of them, regardless of what genre(s) speak to you as a fan and / or a musician.

The noble undertaking of every bass player is to make those around him or her sound better -which brings us to virtuoso Billy Sheehan, who has been plying his craft before millions on record and on stage for over 40 years.

Billy’s all-embracing playing technique, which incorporates tapping, picking, and the use of extensive chord voicings, is nothing short of astounding. And Sheehan’s expressive use of progressive, funk, jazz, pop, classical, soul, and blues motifs and rhythms along with his improvisations are legendary – as is his ensemble playing.

His note choices whilst toiling in-the-pocket always bring out the colors of a chord and the composition. Which is precisely why Sheehan enhances the work of any artist he collaborates with as evidenced by his chart- topping metal-pop work with David Lee Roth and Mr. Big; his forays into fusion with Niacin and Richie Kotzen; his gritty post-grunge blues venture The Winery Dogs; Sons of Apollo,  and his exemplary, far-reaching canon as a solo artist – and in tandem with Steve Vai, Talas, and Terry Bozzio, among scores of others.

A true, prolific giant of the instrument, and an acclaimed clinician, educator, songwriter, winner of several notable instrumentalist polls and awards, and bass designer (Yamaha Signature Altitude) – the best way to keep up with Billy is to check his website daily www.BillySheehan.com

Dig Billy with The Winery Dogs https://youtu.be/4qhxvnMDf2E

Dig Billy with Steve Vai and Tony McAlpine: https://youtu.be/3IQ-WWn6mYE

Dig Billy with Mr. Big https://youtu.be/mHGv5FCS2j8

Dig Billy with David Lee Roth: https://youtu.be/C8XnCVA5-6I

Dig Billy with Sons of Apollo https://youtu.be/J_1N8kVYfkE

From Johnny Echols to KYBP: We were musicians, we were not independently, wealthy playing live gigs was our livelihood, we needed to play in order to eat. The reason we did not tour as often as our contemporaries is because we were a mixed race group playing in the turbulent sixties. We were not welcome in many parts of the country, promoters often booked us only to cancel the gig when they learned the racial makeup of our group. We could have played to segregated audiences, but of course we would never involve ourselves in that crap, hence we did not tour as often as we would have liked.

Amen to Scott Ian of Anthrax who proclaimed, “Steve Harris’s right hand, that’s the essence of heavy metal.”

Iron Maiden founder, chief-songwriter, producer, occasional keyboardist and backing vocalist, and video director, among other roles – the bass artistry of Stephen Percy Harris indefatigably defines the British New Wave of Heavy Metal, which continues to inspire generations of players as you are reading this!!! 

Noted for his “galloping” triplet rhythms rendered with his digits rather than a plectrum; Harris’ hammer-ons, harmonics, open-string pedal tone passages rendered with a timbre that allows his lines to be heard at massive volumes are the stuff of legend. Every motif Harris plies is of strict metal origins – no blues, jazz, funk, soul, nor classical references – nada!

With his beloved Precision strung with 50-110 flats, Harris traverses Maiden’s stage as metal god should; propping his right foot on front stage monitors whilst surveying the metal minions who have worshipped his band for decades and counting. With millions in record sales,  box office attendance, and overall longevity in addition to their artistic accomplishments, Steve Harris and Iron Maiden’s absence from the Rock ‘n’ Roll Hall of Fame is appalling, especially given the fact that the RRHOF is an appalling “institution” whose governance is comprised of wankers, gits, and posers… (reckon I won’t be receiving my ballot this year…). 

In 2009, Fender issued a Steve Harris Signature Bass which reproduces his long-time sparkle-blue finish instrument, which Harris has since replaced with a white veneer complimented by the crest of his beloved West Ham United Football Club (see photos).

For all things Maiden, https://www.ironmaiden.com/

“Kick with a Bam! We love West Ham!”

Steve Harris Sound & Vision as rendered by…

KYBP Adjunct Professor Tony Senatore:

“Run to the Hills” https://youtu.be/-odrQck3Ppg

“Killers” https://youtu.be/HYiCnZdG74I

“Rhyme of the Ancient Mariner” https://youtu.be/XgwjMfjPqMM

“Losfer Words” https://youtu.be/sete2GLts6Q

KYBP Austin Bureau Chief Robert Jenkins:

“Children of the Damned” https://youtu.be/oY2CHVgY39s

Steve Harris Photos Courtesy of Fender

We define “Americana” as a contemporary mélange of country, roots, folk, bluegrass, rhythm and blues –hence we acknowledge the cat with bass in hand who was there at the beginning: Chris Ethridge!

A songwriter, singer, band-member, collaborator – Ethridge was among the go-to session players of the fertile Laurel Canyon scene of the late 60’s and 1970s. His membership in the International Submarine Band and Flying Burrito Brothers helped to erase the cultural and musical divide between country and rock.

Chris honed his craft whilst toiling in the rhythm and blues clubs of his native Meridian, Mississippi. His style is that of the “song player” – wherein every passage serves the composition.   Among the many, many, many gems in Chris’ canon include:  Flying Burrito Brothers – The Gilded Palace of Sin (1969), Dave Mason – Alone Together (1970); Rita Coolidge (1971); Graham Nash – Songs for Beginners (1971); Bill Withers – Just As I Am (1971); Gene Clark – White Light (1971); Randy Newman – Sail Away (1972);  Graham Nash & David Crosby (1972); Mike Bloomfield, Dr. John, John Hammond – Triumvirate (1973); Gram Parsons – GP (1973); Roger McGuinn (1973); Linda Ronstadt – Heart Like a Wheel (1974); Maria Muldaur (1974); Ry Cooder – Chicken Skin Music (1976);  among scores of others including Jackson Browne, Willie Nelson, Grace Slick & Paul Kantner, Nancy Sinatra, Leon Russell, and a little-known all-star collective known as L.A. Getaway featuring guitarist Joel Scott Hill and drummer John Barbata which waxed one hot burrito of a self-titled platter in 1971  that, unfortunately, sank into obscurity.

Chris Ethridge Sound and Vision…

Flying Burrito Brothers https://youtu.be/BITiY8M_oDo

ISB “I Still Miss Someone” https://youtu.be/Rf38finhzPk

Linda Ronstadt “Faithless Love” https://youtu.be/NGmUYlsXTD4

Gene Clark “White Light” https://youtu.be/Ezl-hbIRCvM

Notes rock journalist James Spina: Imagine teaming up with Gram for about an hour and crafting two songs with little thought to any titles. “Hot Burrito #1,” “Hot Burrito #2.” Good ones Chris. And let’s redefine the relationship of a bass and a guitar breaking the mold on what folks think of as country music. This is akin to that magic meld on par with Hendrix telling Redding to put down his guitar and give the same thought to a bass. Jesus Christ! This is magnificent!

Flying Burrito Brothers “Hot Burrito # 1” https://youtu.be/SwsFmv9q4jM

By the way, which one’s Pink?

A singer, songwriter, composer, video artist, multi-instrumentalist, bassist, conceptualist, solo recording artist, activist…George Roger Waters is a genre unto himself.

Mostly responsible for Pink Floyd’s remarkable canon following the departure of their incomparable visionary founder Syd Barrett, Waters steered his brilliant collaborators; guitarist David Gilmour, keyboardist Richard Wright, and drummer Nick Mason through what can rightly be considered among  the greatest recorded works and concert performances in pop music history. Much of Rogers’ inspiration as a composer is drawn from his WWII childhood and astute observations of the human social and political condition. His life story has been documented in Roger’s own words– and worth seeking out if you wish to know more about the man behind the music.

Recognized by Fender with a signature model, Waters commandeers his Precision with a joyfully experimental bent – plying melodies, grooves, counterpoint, and sound collages and countless combinations thereof.  Note that many Floyd bass tracks were cut by David Gilmour – who was a more dexterous player. However, Waters’ imprint is indelible – they were a great combination of “bass players.”

A vocal proponent for peace in the Middle East, among Roger’s activist activities is his work with Stand Up for Heroes which brings wounded veterans together to perform music.

Roger Waters Sound & Vision…

“Interstellar Overdrive” Live https://youtu.be/8DylQaiFL30

“See Emily Play” https://youtu.be/7c0EDM-Yu9o

“One of These Days” https://youtu.be/48PJGVf4xqk

“Careful with that Axe Eugene” Live at Pompeii https://youtu.be/YtZqNAI4pBk

“Us and Them” Live https://youtu.be/O7w765-TbjY

“What God Wants” with Jeff Beck https://youtu.be/YRWRRBX3TB0

One of rock’s greatest chroniclers, author Jeff Tamarkin, duly noted that “the Grape’s saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco.

Moby Grape could have had it all, but they ended up with nothing, and less.” Amen Jeff. Despite being overshadowed by the Grateful Dead, Janis & Big Brother, and Jefferson Airplane, the original Moby Grape were, to my ears, among the finest ensembles to emerge from the Bay Area psychedelic scene – especially with regard to musicianship and songwriting.

In addition to his formidable skills as a vocalist and composer, Bob Mosley was an exemplary bassist with a strong command of rhythm & blues and jazz. Musicologists continue to debate Jimmy Page and Robert Plant’s pillage of Mosley’s “Never” (Wow/Grape Jam, 1968) for “Since I’ve Been Loving You” (Led Zeppelin III, 1970) – you be the judge.  Unfortunately, the Grape’s recorded canon has gone in and out of print – however their brilliant self-titled debut (1967), the aforementioned Wow/Grape Jam (with Al Kooper and Mike Bloomfield), and their countrified Moby Grape ’69 – all with Mosley, are worth scouring though the bins at yard sales, antique shops, and flea markets.  Bob has also waxed several solo sides and continues to anchor a revamped Grape revue.

Bob Mosley Sound & Vision with Moby Grape…

On Steve Paul Scene https://youtu.be/x29ggn68PqE

Bob crooning “It’s A Beautiful Day” from Moby Grape ‘69 https://youtu.be/vviAimAmY38

“Murder In My Heart for the Judge” https://youtu.be/2xEbbyKJ0mk

Courtesy of Randy Meisner Com

His deceptively unadorned root-fifth-octave bass motif which defines his band’s signature “Hotel California” composition is among the most identifiable in the history of rock ‘n’ roll.

Following stints with Poco, Ricky Nelson’s Stone Canyon Band, and most notably Linda Ronstadt, bassist Randy Herman Meisner became a founding member of The Eagles along with Don Henley, Glen Frey, and Bernie Leadon.

Though classic rock audiences nowadays are more familiar with the fiery, latter day Joe Walsh version of the band – the original quartet, with their addition of guitarist Don Felder in 1974, was a potent, groundbreaking collective.

Meisner, an accomplished singer and writer (“Take It to the Limit,” “Is It True?” “Too Many Hands,” “Try and Love Again” among others) and his fellow Eagles were a major catalyst in bringing country-rock to the pop charts in what is now commonly referred to as Americana. 

As a bassist who rendered brilliant harmony vocals, Meisner primarily worked the pocket to fortify the singers and their chart-topping songs. Among Randy’s weapons of choice were Fender Precision, and the Rickenbacker 4001.

After splitting from The Eagles (coincidentally, his replacement Timothy B. Schmit also followed Randy in Poco), Meisner waxed a few under-appreciated solo albums, worked as a session player along with many of his famous friends, and played in various projects including the World Class Rockers with former members of Toto, the Moody Blues, Spencer Davis, Steppenwolf, and Santana.

Randy Meisner Sound & Vision…

The Eagles

“Hotel California” https://youtu.be/gj69BuobTzM

 “Take It to the Limit” https://youtu.be/bhowXKEjjZ8

Poco

“What A Day” https://youtu.be/Q5ex4HkR24w

Solo

“Hearts on Fire” https://youtu.be/k3jFaDmC1t0

Courtesy of The Eagles Com