Among the seminal ensembles which crafted Americana is the oft neglected Poco, initially formed from the ashes of the mighty Buffalo Springfield by Jim Messina, Richie Fury, and Rusty Young.   With bassist, singer-songwriter, producer Timothy Bruce Schmit, who succeeded founding bassist Randy Meisner in this band and later, The Eagles – early Poco rocked rather adventurously  as evidenced by the fusion-like extended instrumental “Nobody’s Fool/El Tonto de Nadie, Regresa” from their 1969 self-titled platter and the incendiary live collection Deliverin’ (1971).

 

Schmit, mostly known for his stellar harmony and lead vocals (“Keep On Trying,” “I Can’t Tell You Why” among many others), is an exemplary in-the-pocket, fretted, and fretless player who vacillates from rendering supportive passages to inventive harmonic extensions as the situation warrants.

 

Aside from his Rock ‘n’ Roll Hall of Fame career with The Eagles, Timothy has waxed five commendable solo albums, and has collaborated extensively as a hit-making session  – touring bassist/ vocalist with artists including Bob Seger, Boz Scaggs, Steely Dan, Jimmy Buffett, Ringo’s All Star Band, Firefall, and CSN, to cite a select few.

 

Akin to many of his generation, it all started for this Birmingham, England bred bassist with Bert Weedon’s Play In A Day – the “simple” instruction manual which “launched” a thousand or so careers….

 

Affectionately known as “Peggy” amongst his peers, he is a player who exemplifies virtuosity in the genre loosely dubbed “electric folk.”

 

Not to be confused with American folk-rock; Pegg and his peers derived their strongest influences from the Celtic cultures – though their yen for Yanks Bob Dylan and The Byrds is most obvious.  Peggy plies his craft on trad four and extended range with the utmost dexterity – rendering melodic counterpoint, improv, inventive solos, and supportive in-the-pocket playing as the situation warrants.

 

In addition to his tenure as the longest serving member of Fairport Convention, Peggy, who also plays mandolin and croons, has anchored seminal recordings by several artists of note, namely: Nick Drake (Bryter Layter, 1970), Sandy Denny (Like An Old Fashioned Waltz, 1974), Richard & Linda Thompson (Pour Down Like Silver, 1975; Shoot Out The Lights, 1982), Richard Thompson (Hand of Kindness, 1983), Linda Thompson (Fashionably Late, 2002), John Martyn (Solid Air, 1973; One World, 1977), and Steve Ashley  among many, many others.

 

During his fifteen-year stint in Jethro Tull, Peggy and drummer Doane Perry enabled Ian Anderson and Martin Barre to rekindle some of the old magic from their early years on stage and on such fine releases including Crest of a Knave (1987), Rock Island (1989), and Catfish Rising (1991).

 

An engaging, often outrageous performer, I witnessed Fairport Convention at the Bottom Line in New York City sometime in the 1980s wherein an enraged Dave Pegg, outfitted in extremely snug white shorts, nearly swallowed his microphone in the midst of a vitriolic rant directed at club owner Allan Pepper. For some reason FC never returned to the hallowed venue…

 

David Pegg Sound & Vision…

 

Nick Drake: “Bryter Layter” https://youtu.be/9DjWvjeZ6ww

 

Richard and Linda Thompson “Shoot Out the Lights” https://youtu.be/2ljITeqfSQw

 

Fairport Convention “Dirty Linen” https://youtu.be/MTWrtWl0zwQ

 

Sandy Denny “Solo” https://youtu.be/AVWCvBUFsso

 

Peggy working a Steinberger XL bass with Jethro Tull “Steel Monkey” https://youtu.be/G6-Jy133XLI

 

Jethro Tull “Hunting Girl” https://youtu.be/2Mti0IUAocY

 

Peggy with a vintage Fender Jazz with Jethro Tull “Broadsword” https://youtu.be/2TMnSBQxeAw

 

To my ears, the most enduring and influential artists who emerged from the 1970s “punk” era – which was noted for its fashionable scorn of pedigree and history – were actually skilled musicians with a reverence for a myriad of musical styles.

 

Witness the amazing collective Mink DeVille, led by the former William Borsay, who were a staple on the New York City scene with a canon that merged a new wave stance with a profound knowledge of rhythm & blues, Brill Building pop, Cajun, and soul. Following personnel changes in the DeVille camp, bassist Joe Vasta came on board for what I consider to be Willie DeVille’s two finest releases: Coupe De Grace (1981) and Where Angels Fear to Tread (1983).

 

With drummer Thommy Price (Joan Jett & The Blackhearts) and Vasta in-the-pocket, along with keyboardist Kenny Margolis, sax man Louis Cortelezzi, and guitarist Rick Borgia – Willie rocked with the depth of his contemporaries Bruce Springsteen, Garland Jeffreys, Patti Smith and Billy Joel to cite a few.

 

Unfortunately Mink never achieved commercial success, and the late Mr. DeVille embarked on a solo career which once again achieved exemplary artistic triumphs yet failed reached the wide audience he and his various ensembles so richly deserved.

 

Mr. Vasta, who was borne of a music family – his dad helmed a big band and played with Dizzy Gillespie – also worked with Billy Idol, John Waite, and  Joan Jett, among many others, and is currently anchoring the Val Kinzler Band, and doing session work.

 

Dig Joe Vasta on Know Your Bass Player on Film Season One 2016 – New York City, Euphoria Studios https://bit.ly/3gzZHY3

Declared James Brown “Fred is the most sampled bass player in the world!”

 

No matter how hard Mr. Brown worked, if it were not for his voltage enhanced bass players, there would be no soul – hence no Godfather!

 

James Brown’s bassists are legendary in their own right; boasting the extraordinary talents of Bootsy Collins, David “Hooks” Williams, Bernard Odum, Hubert Perry, Tim Drummond, Bob West, and Charles “Sweet” Sherrell, among others, and Fred Thomas.

 

Mr. Thomas was able to articulate the JBs’ killer up-tempo passages with this right thumb exclusively plying down-strokes, served The Hardest Working Man in Show Business for thirty plus years, distinguishing himself of such seminal Brown sides as the live Revolution of the Mind (1971), Get On the Good Foot (1972), and The Payback (1973), among other LPs.

 

That’s Fred on “Hot Pants,” “Papa Don’t Take No Mess,” and Make It Funky Part I” to cite a few. Fred’s deep tone, perfect note choices, and rhythmic variations are further proof that you don’t have to be flashy to be funky! Fred Thomas is still grooving in the studio and on the bandstand as a leader and an in-demand collaborator.

Fred Thomas Sound & Vision

“Hot Pants” https://youtu.be/Y70nZIpL5c8

“Papa Don’t Take No Mess” https://youtu.be/8BcmjGWNOMU

“Make It Funky” https://youtu.be/SDeCvChCw64

Aside from the emotional stress that surrounded Janis’ departure from Big Brother & The Holding Company, The Kozmic Blues Band and Full Tilt Boogie Band, both with bassist Brad Campbell, were primed to advance Ms. Joplin’s groundbreaking artistry. Whether they succeeded or not is a matter of personal taste, however Janis’ final two records with them are bona fide classics.

Throughout I Got Dem Ol’ Kozmic Blues Again Mama (1969), Pearl (1971), and tracks on the archival In Concert (1972) the Canadian born bassist fortified Ms. Joplin’s forays into soul and rhythm and blues on such classic tracks as “Try,” “Move Over,” “Half Moon,” and “Me and Bobbie McGee” with harmonic and rhythmic passages evocative of the Motown, Stax, and Atlantic Records session masters – who, at the time, were his peers.

Brad’s primary weapon of choice was the Fender Precision.

Dig Brad on “Move Over” https://youtu.be/otJhUqInF2g

Dig Brad on “Me and Bobbie McGee” https://youtu.be/sfjon-ZTqzU

Dig Brad and Full Tilt Boogie live on “Try” https://youtu.be/7gsqBEPSrd0

Dig Brad and Full Tilt Boogie live on “Half Moon” https://youtu.be/dFCpaDEM3Mc

 

Missing You.” “We Belong” “Kiss Me Deadly.” “Always.” Urban Desire.

 

‘Twas a time when rock music spoke to a generation or two or three. Of all the players who anchored the 1980s MTV / rock radio golden era, among the most prolific was a modest cat from Queens County New York City. You’ve heard him (Pat Benatar, John Waite, Tom Verlaine, Alannah Myles, Lita Ford and Cher -to cite a few) but you don’t know him – until now. Dig this series of Skype interviews with bassist Donnie Nossov. Armed with a ’62 Fender Precision and deep knowledge of rock, pop, rhythm & blues, soul, and permutations thereof – Donnie’s passages went platinum – behold the silver and gold on his den wall behind him!

 

Tom Semioli Writer / Interviewer

James Spina / Interviewer

Mark Polott / Editor

Mark Preston / Executive Producer

 

Donnie Nossov Sound & Vision…. 

 

Pat Benatar “We Belong” https://youtu.be/qxZInIyOBXk

 

Lita Ford “Kiss Me Deadly” https://youtu.be/kIt3OGra3Lo

 

John Waite “Missing You” https://youtu.be/k9e157Ner90

 

Tom Verlaine “Always” https://youtu.be/9X8SEnCGCKE

 

Genya Ravan “Aye Co’lorado” from Urban Desire (1978): https://youtu.be/uhlCEgZ0uu0

 

The End Imaginary Life as discussed in No Depression in 2018: https://bit.ly/2XaGx2r

Ray Manzarek dubbed him “The Fifth Door” and he was offered a full-time gig with the iconic ensemble which he turned down in favor to anchor an ensemble wherein he had more of a creative input: Clear Light. Encouraged by Mama Cass Elliott to migrate to the City of Angels in the mid-1960s, the late Doug Lubahn was a prolific sideman / session cat, producer, composer, and author whose career spanned two generations of classic rock .

On Doors’ record dates, Doug deftly approximated and further embellished Manzarek’s left-hand keyboard figures. Doug contributed to significantly to the band’s hallowed canon, performing on Strange Days (1967), Waiting for the Sun (1968) and Soft Parade (1969) on seminal tracks including “Moonlight Drive,” “Love Me Two Times,” “People are Strange,” “Hello I Love You,” and “Wishful Sinful,” among others.

 

Dig Doug with The Doors:

 

“Moonlight Drive” https://youtu.be/iNilmUzcB0s

“Wishful Sinful” https://youtu.be/siU2inT0OuI

A watershed ensemble which incorporated jazz, folk, prog, psychedelic and pop – go figure why Clear Light did not scale the commercial heights they so richly deserved.

Produced and engineered by Paul Rothchild and Bruce Botnick of Doors fame,dig Doug with Clear Light:

“Mr. Blue: https://youtu.be/h4hpd4lcwpo

“Black Roses” https://youtu.be/IvkYzF3xmLs

In 1970 Doug was a founding member of jazz rock pioneers Dreams, featuring Randy and Michael Brecker, Billy Cobham, and John Abercrombie.

Dig Doug with Dreams: “

“New York” https://youtu.be/nSRl55V2OiQ

“Dream Suite” https://youtu.be/dEJdIh_Mjgg

An accomplished vocalist, Doug also toured and/or recorded with Billy Squire (Emotions In Motion / 1982), The Monkees, and Ted Nugent, among others.

Dig Doug in the MTV era with Billy Squire with “Emotions in Motion” which featured a killer bass motif: https://youtu.be/ATE3m3HOmMw

Coda: Doug also authored a fine memoir: My Days with The Doors and Other Stories.

Though most Yanks were aware of this ensemble by way of their sole US hit penned by Sir Bob Geldof – which mordantly detailed Brenda Ann Spencer’s mass gun murder – Ireland’s Boomtown Rats were a major force in Europe as influencers and recording artists.

Bassist, composer Pete Briquette – who derives his stage name from a form of decayed vegetation which is used as a coal substitute in his native Ballyjamesduff – has anchored the Rats and Geldof as a solo artist since their formation in 1975 with passages that traverse punk, ska, reggae, funk, soul, and blues.

Among his standout performances include the #1 UK hit “Rat Trap”, the #6 UK hit “Clockwork” – both from A Tonic for the Troops (1978) and the #3 UK hit “Banana Republic” from Mondo Bongo (1980) – the latter two which include included Pete in the writers’ credits.

Pete Briquette Sound & Vision

“Rat Trap” https://youtu.be/YhXwyxDFmdw

“Banana Republic” https://youtu.be/Igzet9z0hNE

“Trash Glam Baby” https://youtu.be/or8dD5VYk_4

Aside from his work with the Geldof and the Rats – who reformed in 2013, Pete is also a producer, and helmed French singer Renaud’s chart-topping 2009 release Molly Malone – Balade Irlandaise.

 

 

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

 

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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