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

 

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

 

 

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

 

 

 

 

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.

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

“Mott the Hoople and the game of life….yeah, yeah, yeah, yeah…”

 

He was a founding member of a groundbreaking Rock ‘n’ Roll Hall of Fame ensemble that essentially brought “alternative” rock to the masses, and continues to inspire scores of indie bands. A bassist and prolific composer, Michael Edward Mills was REM’s musical workhorse, often doubling on keyboards and providing harmony vocals while laying the harmonic foundation for his higher profile band-mates.

 

Mills’ modus operandi was to work in the pocket with a melodic mindset to serve the songs sung by Michael Stipe and brilliantly fortified by the defining guitar artistry of Peter Buck.

 

 

On the final two woefully under-appreciated REM studio efforts, Accelerate (2008) and Collapse Into Now (2011), Mills flexed his formidable chops with thrilling results, rendering motifs high in the mix that grabbed the listener ala Jack Bruce, Sir Paul, and The Ox.

 

 

Mills’ primary weapon of choice, especially in REM’s latter years, was the Fender Precision, though he did record and perform with a Rickenbacker 4001 and Hofner among others.

 

 

Following REM’s retirement, Mike toils in several low-key projects including the Baseball Project, and collaborateed with artists including Drive By Truckers, Hindu Love Gods (with Warren Zevon) and Joseph Arthur.

 

 

Mike Mills Sound & Vision …

 

“Discoverer” https://youtu.be/z7q5DLS1rAU

 

“Living Well is the Best Revenge” https://youtu.be/rj55GSeXYuI

 

“Man Sized Wreath” https://youtu.be/mzNOtYyiu1c

 

“Supernatural Superstitious” https://youtu.be/IkQPkZuNjvc

 

REM Live 2003 https://youtu.be/f4_Gulqaj6c

 

“What’s The Frequency Kenneth” / “Crush with Eyeliner” https://youtu.be/pbi4LXDPkCI

 

“Man on the Moon” https://youtu.be/CgR7mQlus4k

 

“So. Central Rain” https://youtu.be/msWi0c4tHV8

 

“Driver 8” https://youtu.be/wuFId1RYSZE

 

Dig Mike taking the mic on “Don’t Go Back to Rockville” https://youtu.be/uWRawTxpD4E

The furtive rumble of the bass beneath the power chords, vocal melodies, and a stealthy backbeat…

When the topic of rock and roll’s greatest rhythm sections arises, producers, engineers and assorted journos often cite Sir Macca / Richard Starkey MBE, Wyman / Watts, Ward / Butler, Benjamin / Jamerson, The Ox / Moon, Tallent / Weinberg, Bruce / Baker, McVie / Fleetwood, Taylor / Deacon, Blaine / Kaye, and Quaife / Avory – among the select few – as “elite.” 

KYBP hereby renders an addendum to the aforementioned revered cadre of icons – as reported by Joe Gagliardo! Enter Messrs. Mesaros / Diken!

By Joe Gagliardo

Talk about a bass player and drummer being locked in!

Mike Mesaros and Dennis Diken of The Smithereens have been friends since the third grade. They spent their formative years spinning records together long before they started playing music.

Jim Babjak, The Smithereens’ guitarist – wasn’t far behind. Friends since the fifth grade – the three musical pals joined with Pat DiNizio of in 1980, and thus emerged The Smithereens.

At seventeen, Mike picked up the bass. Jim had already been playing guitar for about five years, and drummer Dennis was a working musician by the 8th grade.

Mesaros’ decision was driven, in part, by his love of doo wop music, and the significance of the bass vocal—just check out “Blue Moon” by The Marcels. Recalling his first bass as “a $15 piece of junk,” Mesaros quickly upgraded to a mid-70s Rickenbacker 4001.

After Jim Babjak showed Mike a few notes and songs on his instrument, Mesaros was off and running.  The budding bassist studied classic 50’s cuts including the work of Guybo Smith, who played on most of Eddie Cochran’s records.

When soaking up the sounds of that era, Mike paid particular attention to the left hand of the legendary piano players on records by Chuck Berry, Little Richard, Fats Domino and Jerry Lee Lewis – just listen to Jerry Lee’s during the piano break on “Great Balls of Fire” to understand where Mesaros is coming from!

This work ethic affected Mike’s development in multiple ways.  He practiced hard so that he could rise to the occasion and play with musicians who were far more advanced than him at the time.

The ability of Mike to play an unrehearsed bass riff at the end of a song, and have Dennis do a supportive roll on the drums, or vice versa, is part of what makes Mike and Dennis such a formidable rhythm section.

Because the band plays songs which leave room to stretch out, they each respond instinctively to what the others are playing.

Renowned E Street Band bassist Gary W. Tallent described The Smithereens as a two guitar, bass and drums rock and roll band.  He went on to say that they had obviously taken the time and effort to study the music that came before them, but they then took that music to a place that was true to its roots, but in a way that gave it a completely unique identity.

Tallent’s description of the band also applies to the development of Mike Mesaros’ bass playing.  The Mesaros household resonated with the sounds of swing and big bands, country, and Frank Sinatra, Jerry Vale, Al Martino, and the other popular vocalists of the day.

Mike was also absorbing the AM radio music coming out of New York, which was eclectic— back then the Top 40 charts included Sinatra, Dean Martin, Louis Armstrong, alongside The Beatles, Stones, surf instrumentals, and the soulful sounds of Motown, Stax and Atlantic.  Mike’s most significant musical influences came from the 45s and LPs Dennis Diken would spin for him over the many years they spent hanging out together.

In October 2019, the band had the esteemed honor of being inducted into the New Jersey Hall of Fame.  The Smithereens joined legends, including Frank Sinatra, Tony Bennett, Sarah Vaughan, Count Basie, Bruce Springsteen and The E Street Band, Steven Van Zandt, Jon Bon Jovi, and Frankie Valli and The Four Seasons, among others.

Mike’s studying of bass players carried on with players of the 60’s and beyond:  Paul McCartney, John Entwistle, Brian Wilson, Ronnie Lane (Small Faces/Faces), Jack Bruce, James Jamerson, Carl Radle (listen to his slide on one string in “After Midnight”, which makes a simple bass line sound interesting), and Joe Osborne. Osborne’s playing on “Midnight Confessions” (The Grass Roots) and San Francisco (Scott Mackenzie), are just a few examples Mike cited.

Although he rarely plays with a pick, Mike absorbed the aggressive pick playing of Dee Dee Ramone, Andy Shernoff (The Dictators) and JJ Burnel (The Stranglers), as well as the melodic playing of Graham Maby (Joe Jackson), Gary Tallent (E Street Band), Bruce Foxton (The Jam), Bruce Thomas (The Attractions) and Andrew Bodnar (Graham Parker And The Rumour).

Mike describes his playing style as “a musical soup of his influences,” but just as Gary Tallent described the band, Mike has taken those influences and created a unique sound.  He has a broad musical vocabulary, and while he plays with power and energy, his goal is to have his bass lines be a song within the song.

He wants his bass lines to lock in with the drummer’s foot pedal so that it sounds like the bass drum is playing notes.  Mike strives for accurate and consistent notes and tone, and understands that what you don’t play is as important as the notes you play.  Mike practices daily, and he switches it up to keep it interesting.    He is a proponent of using scales as a warmup.  After that, he likes to play along with records–20s and 30s Jazz, Motown, or whatever is on his mind that day.

He also works on Smithereens’ songs to keep them fresh, and in his head.  Mike is driven about growth; always wanting to be better tomorrow, than he is today.  That drive has led him to studying legendary upright players, including Ray Brown and Oscar Pettiford.  He feels that through those listening experiences, he has added an upright element to his playing on the electric bass, including the expanded use of walking bass lines, using half steps.

In terms of his gear, his go-to basses are three Fender Precision basses from the ’73-75 era, as well as two Rickenbacker Blackstar basses.  The Precision basses have been modified with DiMarzio pickups and Badass bridges.  He prefers dead flat wound strings, and believes you can’t beat the E string on a P bass.  In contrast, the Rickenbackers are great for playing octaves and in the upper register, as well as for hammer-ons and string bending.  The Smithereens records were recorded primarily with the Fender Precision basses.

Mike’s philosophy is that 80% of a bassist’s sound is driven by the bass itself, and his/her hands.  He plays primarily with his fingers, and uses no pedals or effects, choosing to change the sound of the bass depending on how he uses his fretting hand to create vibrato to make the note ring out, or create a ghost note.  While he anchors his right hand on the E string and his pinky on the bridge, he also changes his sound by moving his plucking hand closer to the pickup and neck.  For his bass rig, he wants to just cleanly amplify the sound he is creating with his bass and hands.  His go-to rig to get a punchy, clean and articulate sound is a Gallien Krueger 800RB, running through 2 4×10 Hartke cabinets with aluminum cones.

When it comes to constructing bass lines, Mike believes songs are like movies, and that the bass lines should all be different.  He listens to the song to figure out whether it is subdued or ebullient, and to identify the places where he can accentuate the vocal or hook of the song.  His goal is to have the bass line build and change as it moves through the verses, choruses and solos.  Prior to entering the studio to record, Mike would take Pat DiNizio’s demo tapes, and using his 4-track tape machine, he would play along with the demo and record different bass lines.  He could then pick out the lines that he thought would work best with each song and Dennis Diken’s drumming.

While there have been many memorable events for The Smithereens since their formation in 1980, Mike counts among his favorites:  the band’s first tour, which was with The Ramones; its 1990 appearance on Saturday Night Live; and its 2019 induction into the New Jersey Hall of Fame.

A personal highlight for Mike goes back to the late 70s, when he and Dennis had a band called The Targets, and they were playing at Kenny’s Castaways on Bleecker Street.  After a set, accomplished bassist Doug Lubahn (KYBP https://bit.ly/2ZWb5bZ ), who played on three Doors LPs, as well many other projects, called him over to the bar to compliment his playing.

You can catch Mike and The Smithereens live, and you can check out his playing here, on some of his favorite Smithereens songs.

Also check out his commentary about the songs:

“Blood And Roses” https://youtu.be/vqML7WbOun8

This song changed my life.  Pat came up with the basic bass line, let me develop it, and he built the song around it.  A great gift from Pat to me.

“Deep Black” https://youtu.be/j3PauBeJkNI

I improvised about 50% of the bass lines in the studio, thinking I would go back and redo them.  To my surprise, I liked how I played, and left them unchanged.  Definitely, a confidence booster.

“Strangers When We Meet” https://youtu.be/nfecRUgOGVc

This song has a Beach Boys feel, so I tried to fuse how I thought Brian Wilson would approach the song, with my idea of punch and energy.

“Everything Changes” https://youtu.be/ymetDT29iyQ

This has an ominous sound, reminiscent of The Stranglers, so I played with a pick, trying to capture the sound of JJ Burnel.