By Thomas Semioli – Photos Courtesy of Andy White Com

 

I recently discovered that I first became aware of Andy White back in the hazy daze of 1986 or thereabouts. ‘Twas a time when independent emerging artists garnered airplay thanks to Long Island radio stations, most notably WLIR-FM. Let the facts be known to a younger generation that while New York City corporate broadcast outlets were still spinning CSN&Y and Abbey Road incessantly, it was the suburban motley that broke new artists in that era. Tracks from Andy’s refreshing debut Rave On peppered the indie radio playlist among U2, Echo & The Bunnymen, The Cure, Siouxsie & The Banshees, Big Country, the former Declan Patrick MacManus, and that loveable older gent with the fancy threads- Bryan Ferry, to cite a few.    

 

As a working (i.e., starving) bass player I was mostly employed by singer songwriters toiling on their demos in an attempt to nail the holy grail of stardom (and survival) known as “the record deal” with an “advance.” Or a production deal. Or a publishing deal. GarageBand and Pro-Tools had yet to bring recording technology into the bedroom. If you wanted to make records or compose songs for other artists to make into hits, you had to play instruments in a real studio with real musicians which cost real money! Fortunately for yours truly, the artists I anchored had sugar daddies (and sugar mommies), hence I could maintain a Manhattan roof over my head and choose from any (reasonably priced) variety of cornflakes for sustenance.

 

I was always attuned to singer songwriters whose bassists had a bit of what I referred to as “muscle.” That is, players who brought rhythm and harmony to the music. In the singer songwriter realm, bassists are often buried in the mix and adhere to the simplest of patterns in deference to their host. Of course, there are exceptions – Bruce Thomas with Elvis Costello’s Attractions, Andrew Bodnar from Graham Parker & The Rumour, and the master: Norman “Faith & Grace” Watt-Roy in the service of Ian Dury. Kudos to the singer songwriters who allow their bassists room to breathe – and grab the listener!

 

Enter Andy White in the Reagan / Thatcher years – and beyond as we will soon learn. When I heard tunes from Rave On and Kiss the Big Stone (1988), I made a mental note to check out the bass player. Andy’s tracks have a feeling of immediacy. Aside from the brilliant lyrics and melodies, the bass brings you into the music.  As I recall, I got ahold of Andy’s work on a medium known as the “cassette” during one of my UK sojourns.  Primitive yet portable, those pesky polyester-type magnetic tape cartridges were packaged rather cheaply, oft times with no musician credits. Mission not accomplished, but not forgotten.

    

Fast forward to 2020 and I hit upon ALT, the overlooked “supergroup” of Andy, Liam O’Maonlai of Hothouse Flowers renown, and Tim Finn – the driving force behind Split Enz and a rather amazing solo artist and collaborator in his own right.  ALT waxed a gem of a studio slab Altitude (1995) which flew under the radar amid the grunge (no hooks / no problem) onslaught. Tapes from their live show recorded at the legendary Tramps club in New York City (you know, that market which continues Who’s Next in heavy rotation) has just surfaced on streaming services.  As you would expect, fantastic compositions, expert melodies and vocals. And the bass! It reaches out and moves me.

 

I recognize from their press materials with credits (!) that the bass player is…Andy White! Wait, what? The cat on the Andy White album covers? The poet? The author?

 

Let’s get to the bottom of this!

 

(Note the interviewer’s few factual errors – despite painstaking research on Discogs.Com, AllMusic.Com, Wiki, and assorted blogs and websites – have been retained for authenticity!)

 

You’ve got plenty on your plate as a singer, songwriter, recording artist…why add bassist to the mix?

 

Bass is my first instrument. I started playing bass before singing or playing guitar. I was about 13 … double bass, then my teacher said I could borrow his Precision if I stood in for him on a gig. I fell in love with the four strings (never five) and that was it, really! It’s the only instrument I think I can actually play and – along with the vocals – the key element for me in all of my albums. Which is why I am so glad someone has finally asked me about it!

 

My educated guess is that your approach to the instrument is that of a “song player” – that is, a bassist who primarily works the pocket to serve the singer, the song, and the melody – thoughts?

 

See above, no, it’s a really important part of the song for me. I can only play a few chords on guitar, the most important part is the bass, even if it’s a simple riff which doesn’t change during the whole song listen to Time is a Buffalo in the Art of War or it becomes the most interesting instrumental feature ..maybe All It Does is Rain…

 

Time is A Buffalo in the Art of War Promo https://youtu.be/2aR52gythos

 

“All It Does Is Rain” https://youtu.be/UlXti-oFMI0

 

Many of the bass passages on your albums use a keyboard as rendered by your collaborators Rod McVey, and Ingmar Kiang

 

Err.. not really. There are some. Rod? Which tracks? He’s an amazing musician who can play any instrument any style in his own particular way. He does play a great bass guitar track on Palaceful of Noise and I think some synth basses on Destination Beautiful. We’ve always used samples and electronics ever since the first album – even though because it’s got an acoustic guitar on the cover most people don’t realize it. Ingmar – no, just a synth bass on a track on Teenage overdubbed during the mix.

 

“Palaceful of Noise” https://youtu.be/CXJNSzFt_cA

 

My favorite Andy bass tracks include “Hanging Around Wit’ You” with Bruce Thomas of Elvis’ Attractions, and Crowded House anchor Nick Seymour (“Let Me Be Free,” “Hysteria”), and session horn player / bassist Nicky Scott (“Come Down to the Sea”)– how did you come to collaborate with these fine players?

 

I grew up listening to Bruce Thomas’ basslines on This Year’s Model and Armed Forces. Of course my favorite bass player was Paul McCartney, but it was exciting that one of ‘our’ bands had such a great bass player. Also, Norman Watt-Roy (Ian Dury and the Blockheads). Punk was a big deal in late-70s Belfast and I still carry that attitude with me today. My PR guy for the first album used to work for the Attractions and put us in touch. It was amazing to play with Bruce and Pete. Especially seeing the drama they put into a performance and Bruce’s bravery going up the neck.

 

“Hanging Around Wit You” https://youtu.be/6hjNGhzHUFQ

 

“Let Me Be Free” https://youtu.be/LuKnkpqj7YY

 

“Hysteria” https://youtu.be/E-rrU0D_Sk8

 

“Come Down to the Sea” https://youtu.be/BetbK0M3mXs

 

Nicky Scott I’ve known since I was at school, along with Rod McVey, So glad to have him on a track. Both are in this TV performance of “Message to You” https://youtu.be/i-T4tuPVSOY  

 

Nick Seymour lived very close to where we recorded that album and popped in to play a couple of tracks with his Telecaster bass. I knew him through Tim Finn and hanging out in Dublin. What a great player – again, he doesn’t always start on the root note and I loved how he meandered down the neck. As with the other bass ‘guests’ it was a case of asking them and their personality to take part in the record, and to play something I wouldn’t have thought of.

 

Fantastic bass passage on the track “Understand” (with Liam on keys and backing vocals) was that you or Nick?

 

That’s Robbie Malone from Dublin who went on to play in David Gray’s band. Great bass player and friend. We’ve been in Italy, we’ve been in Galway, we’ve had coffees in a Melbourne laneway.

 

“Understand” / How Things Are promo https://youtu.be/Ik5i4bPQDGU

 

On Destination Beautiful you commandeer the upright (“She Doesn’t Want You Anymore”) – a difficult task requiring intense study or did you simply busk it?

 

See above, I’ve played double bass since I was at school though it would take me a long time to read a part now. After listening to Astral Weeks – sure – show me the way to the double bass! My double bass is on ‘One in a Million’ on the latest album. The track you mention is on bass guitar but there’s a double bass track on nearly all the albums – try ‘I Will Wait’ on the first. More on the recent ones since it’s actually there in the studio beside me.

 

“She Doesn’t Want You Anymore” https://youtu.be/zV7fP33Rq78

 

And on the topic of upright players, you’ve got the great James Blennerhassett working the doghouse and electric (fretless) on Himself – most notably (to my ears) “Six String Street,” “Birds of Passage,” “St. Patrick Good Luck,” “The Whole Love Story” – comment on his contributions to your work on that album.

 

Yes, James is a master of the art. His best track is You and Your Blue Skies on my second album on double bass.

 

“You and Your Blue Skies” https://youtu.be/-8akCGwAkxo

 

My guess is that your bass of choice is the Fender Precision?

 

Yes, a 70s one I bought when I was about 16 or 17 from Trevor Hutchinson, who was both the tallest and the best bass player in Belfast when I was a teenager. He was in the Waterboys and later a wonderful group called Lunasa. It was fretless then, for a while had frets, and now is fretless again. Jaco style pick-ups and a phase switch I have never used – both appeared in the 80s. Same strings as when I bought it. Seriously.

 

I also have a reissue Hofner ‘hand’ made in Hamburg and a great Squire Precision, copy of an early 50s model (like Sting’s). This is the most reliable and easy to play of them all. Sounds incredible – always. I dread changing its strings someday. Oh and last year I bought a short scale Danelectro-style bass for fun – made out of a door. Thought I should have one roundwound sound to reach for it’s fun and raspy.

 

Andy in Macca mode!

 

On the ALT Live At Tramps album – you’re playing bass and singing – how do you balance the two as the melody and bass passages are often at odds?

 

Most difficult thing in the world – especially harmonies. Respect to aforementioned Sting and Macca.

 

Andy White full time bass player? If you got the offer from BTS, Beyonce, Rhianna would you take it? 

 

Songwriting is only a sideline, it’s all about the bass!

 

For all things Andy White visit: www.AndyWhite.com

 

ALT Live at Tramps is available now on iTunes, Spotify, BandCamp, Amazon, and Tidal.

 

Much thanks to Joan Myers / Myers Media!

 

Courtesy Ricky Phillips Com

 

He was in the right place at the right time and had the right skills and the right stuff!  

 

Born into a musical family, Ricky Phillips paid his dues on the club circuit noting “I played every zip code starting with EiEiO before ever getting a major gig!” As so many aspiring musicians do, he migrated Los Angeles to seek rock and roll fame (and perhaps fortune).

 

Whist toiling in a Hollywood guitar shop, he received a tip that The Babys were auditioning bass players – a move to afford their singing bass player John Waite the platform to concentrate on his vocals and front-man bravura. Phillips grabbed a bass off the wall with a dangling price-tag, nailed the gig, and the rest as they say is history…

 

Phillips waxed three slabs with The Babys and anchored several tours which raised his profile considerably. When The Babys folded, Phillips commenced to working sessions, and having his own compositions placed in films – including The Terminator.

 

Phillips, Waite, Neil Schon, Deen Castronovo, and Jonathan Cain formed Bad English (essentially a melding of Journey and The Babys) which struck platinum on their self-titled 1989 release in the waning daze of big hair and big hooks.

 

Upon the demise of Bad English – bad timing as the grunge movement wiped out their momentum, Ricky hooked up with another superstar collaborative David Coverdale / Jimmy Page – waxing a few tracks on their sole studio slab.

 

Following Coverdale / Page, Phillips turned his attention to production, building a studio in North Hollywood – among his notable projects included ex-Toto singer Fergie Frederickson’s Equilibrium release in 1999. In 2005 Phillips joined Styx as a bassist / guitarist, trading off bass duties part-timer Chuck Panozzo.

 

Ricky’s current weapons of choice include Fender, Dana (pictured) and Spector basses.

 

Ricky Phillips Sound & Vision…

 

The Babys:

 

“Midnight Rendezvous” https://youtu.be/BSf7YLX1Py8

 

“Back on My Feet Again” https://youtu.be/LZUv2K4R3vg  

 

“Turn and Walk Away” https://youtu.be/qrLZjAIzbow

 

Bad English:

 

“When I See You Smile” https://youtu.be/cu6pclWsxzs

 

“Forget Me Not” https://youtu.be/-Qol7z-ku8A

 

“Price of Love” https://youtu.be/AuJqJ7j7HVY

 

Coverdale / Page:

 

“Easy Does It” https://youtu.be/_uOwj96HTyg

 

“Absolution Blues” https://youtu.be/Kxo0Bjgk0lI

 

Styx:

 

“Gone Gone Gone” https://youtu.be/i1gVIBKZ6cg

 

“Mission to Mars” https://youtu.be/vUVk_cL-Zxw

 

 

 

 

 

Little is known to Know Your Bass Player regarding the career of Bill Takas – other than he was/is an exemplary player with credits that span a long association with Bob Dorough with whom he waxed several sides, along with his membership in Ten Wheel Drive, and record dates with LaBelle, Buzzy Linhart, Judy Collins, and Doc Severinson, to cite a few.

 

A fluid player with a fat tone – if you know about Bill Takas, let us know!

 

Bill Takas Sound & Vision…

 

Ten Wheel Drive:

 

“Tightrope” https://youtu.be/vn5QpfQLREM

 

“Ain’t Gonna Happen” https://youtu.be/2lGGcJz0wG8  

 

Bob Dorough & Bill Takas:

 

“Beginning to See the Light” https://youtu.be/XDzZxzj4pSQ

 

“Better Than Anything” https://youtu.be/RU3uzecq4n8

 

Buzzy Linhart:

 

“Cheat Cheat Lied” / “Hit The Road Jack” https://youtu.be/3VN-R-lpFJY

 

“Time to Live is Now” https://youtu.be/XAhwDx8DasU

 

“Because the Love is Still Growing” https://youtu.be/6GHBNKZgp3g

 

Doc Severinson “In the Court of the Crimson King” https://youtu.be/4xlxIVZ0FrY

 

LaBelle “Morning Much Better” https://youtu.be/UsFjMuLSiKg

 

Courtesy of Little Barrie Com

 

Behold the power of the power trio! Named for their Nottingham UK ace guitarist Barrie Cadogan (it was his nickname), the ensemble dubbed Little Barrie traverses classic rock, funk, soul, psychedelia, garage, experimental and permutations thereof.

 

Championed by Johnny Marr, and Edwyn Collins, Little Barrie also featured the formidable skills of drummer Virgil Howe, son of Yes guitarist Steve, until his untimely passing in 2017. (He has since been succeeded by Malcolm Catto.)

 

Bassist Lewis Wharton, whom Barrie met a mod clothing store on Carnaby Street (a rarity nowadays given the Foot Locker and GAP presence), is a dexterous cat who flexes his groove and melodic chops given the situation.

 

Lewis’ weapons of choice include vintage Fender instruments, and volume aplenty abetted by effects.

 

 

Lewis Wharton Sound & Vision

 

“Tip It Over” https://youtu.be/8WF44b5MHq4

 

“Rest In Blue” https://youtu.be/yxUrap_gJfw

 

“Surfer Hell” https://youtu.be/OEyhbLqss_k

 

“Eyes Were Young” https://youtu.be/q83x9VWDL-Q

 

An endearing personality and among the most beloved figures in the New York rock and roll community of yore, the late Arthur Harold Kane Jr. aka “Killer Kane” anchored one of Gotham’s most iconic musical forces – the New York Dolls – from their inception in 1971 until 1975. In 2004 Kane appeared in a London reunion concert with his mates shortly before his untimely passing.  

 

Akin to NYC’s finest: Velvet Underground and Lou Reed, Dion, The Ramones, Garland Jeffreys, Blondie, Patti Smith, and the Talking Heads to cite a select few (please don’t contact us if we left out your favorite artist/band from the greater NY area), their influence far exceeded their commercial success.

 

Much has been documented on the creative collective (and individual) genius of David Johansen, Sylvain Sylvain, and the late great Johnny Thunders – and deservedly so.

 

Like the Rolling Stones, who inspired them (and whom David Jo’s pout was oft compared to), the Dolls perfected the “craft” of sloppy perfection. On stage, they habitually played out of tune, and out of time, but they made all the wrong notes sound right (and vice versa)! Besides, precision wasn’t the point. They wrote great songs, and their first two albums, along with some of the latter-day efforts sans Kane, Thunders, and Nolan are the stuff of great rock and roll.

 

Of all the bands deserving of Rock and Roll Hall of Fame recognition, the Dolls are near the top of the list.

 

As for the Dolls’ rhythm section, Kane was more recognized for his sartorial choices which borrowed heavily from Mott the Hoople bassist Overend Watts, along with accessories from the fringe fashion shops in London and Manhattan’s Greenwich Village which were deemed shocking in their day.

 

On stage, Kane appeared to be exerting more effort not to topple over in his platform boots than playing bass! In the studio, the bass tracks sound quite good, exuding harmonic movement and fine pocket playing. 

 

Following the Dolls demise, Kane participated in a few projects which floundered, and he consequently left the music business. His “legacy” was captured in the documentary New York Doll, and his autobiography I, Doll: Life and Death with the New York Dolls.  

 

Arthur Kane Sound & Vision…

 

“Trash” https://youtu.be/x9d5csMFAfE

 

“Personality Crisis” https://youtu.be/2aQTGqqXHw4

 

Trailer New York Doll https://youtu.be/jwD04NsnLLg

 

Photos courtesy of Anthrax Com

 

In the world of speed metal bassists, rare are the finger players. Enter Anthrax bassist Francis Charles Joseph Bello…

 

Inspired by hard rock flesh-on-the-string heroes Geezer Butler, Steve Harris, and Geddy Lee – Bello forsook his role as an Anthrax roadie for the bass chair in 1985 for the band’s classic second slab Spreading the Disease.

 

A master riff and pocket player, Bello is a spirited proponent of our instrument, appearing in numerous forums and clinics discussing topics ranging from gear, to playing approaches, to notable bassists.

 

In addition to his role in Antrax, Bello’s side-projects include Altitudes & Attitude with Megadeth bassist David Ellefson wherein Frank croons and plays guitar with more of a melodic bent than his day job ensemble.  He also briefly toured with alternative metal / noise-rockers Helmet circa 2004, but never recorded with them.

 

 A part-time thespian, Bello has acted in film; Greetings From Tim Buckley wherein he assumed the role of another bassist – Richard Hell and television episodes of Law & Order. Frank is also active in the philanthropic organization Kids Who Rock – donating his time, educational expertise, and musical instruments.

 

Bello is planning to release his debut solo slab in 2021 on the Megaforce imprint. His band Anthrax intends to unleash its next studio platter next year.  

 

Weapons of Choice: in 2005 Fender created the Frank Bello Bass, modeled after his Aerodyne J-Bass. ESP also put out a Frank Bello model which was a Precision type model. Bello has also used Fender Precision and Jazz basses.  Bello uses Hartke sound gear (see video below).

 

Frank Bello Sound & Vision…

 

Hartke Demo with David Ellefson https://youtu.be/qvKJG3UOFwQ

 

Anthrax:

 

“Gung Ho” 2020 https://youtu.be/b2_vrtmuwzs

 

“Caught in a Mosh” https://youtu.be/O9ZUW4GL470

 

“I Am the Law” https://youtu.be/2Bu5mnE65I8

 

“Madhouse” https://youtu.be/uGHsxMqpL0c

 

Altitudes & Attitudes:

 

“Late” https://youtu.be/RG7QE6MY_8g

 

“Out Here” https://youtu.be/XLl1tCjwXZU

 

 

Courtesy OrleansOnline Com

Working under a moniker inspired by their love of all things ‘Nawlins – namely Dr. John, Neville Brothers, The Meters, and Alan Toussaint; Orleans was founded by songwriter / guitarist John Hall in Woodstock, New York in the early 1970s.

 

 Among Hall’s collaborators was keyboardist / guitarist Larry Hoppen who enlisted his teenage brother Lance to play bass, and the rest, as they say is history…

 

Following two commercial flops, Orleans struck gold in ’75 as slick pop rock became a hit radio staple, and their ensuing slabs reached the upper echelon of the singles and album charts.

 

Akin to his mentor, legendary New Orleans bassist George Porter Jr., Hoppen’s melodic / pocket passages served as hooks as well as a harmonic and rhythmic foundation. An accomplished vocalist, Lance also sang on recordings by Michael Franks, Jonelle Mosser, Steve Wariner, and served as a bassist / vocalist with Suzy Bogguss, Larry Hoppen, and Kathy Baillie among others. 

 

When Hall split from the band in ’77 and changes in musical tastes rendered the band out-of-style, Orleans’ commercial and artistic trailed off considerably, and by the 80s they were done. However given the cyclical nature of the music business, a new appreciation for the era’s pop artists commenced in the early 21^st Century, and Orleans has been on the nostalgia circuit ever since. 

 

In 2017 Lance waxed his first solo side Conjuring. His primary weapon of choice is Fender Precision! 

 

In addition to his ongoing tenure in Orleans, Hoppen also anchors The Rocketmen – an Elton John repertory ensemble based in Nashville.

 

Lance Hoppen Sound & Vision:

 

Orleans

 

“Still The One” https://youtu.be/wrqkr8PpEvM

 

“Dance With Me” https://youtu.be/_-IXJLgRnvs

 

“Love Takes Time” https://youtu.be/zEt9PPBGfJA

 

Larry Hoppen “Love Takes Time” https://youtu.be/fi1bTVsUSn4

 

Lance Solo:

 

“Beautiful World” https://youtu.be/n55n0r9PH84

 

“Oh Boy” https://youtu.be/ODieyHY3D1c

 

The Rocketmen https://youtu.be/zAfGGGcsgIA

 

KYBP Adjunct Professor Tony Senatore Renders Lance Hoppen

 

“Still The One” https://youtu.be/srJzlAn_bRI

 

“White I Need” https://youtu.be/DIrJ_DMdGoI

 

“Reach” https://youtu.be/aURO39hiOYc

 

 

 

‘Twas a time in the 1980s wherein blues fell off the mainstream pop culture map during an era (error) of MTV fueled pomp and circumstance over substance. Akin to the punk invasion a decade previous, two torrid Texas ensembles came on the scene to set the rock and roll record straight once again:  Stevie Ray Vaughan’s Double Trouble, and The Fabulous Thunderbirds!

 

Anchoring the T-Birds at the apex of their commercial success was bassist Preston Hubbard. An swingin’ upright and electric pocket player, Preston honed his craft with Room Full of Blues, and The Alley Cats with Tinsley Ellis– and even turned down an offer to join SRV’s incendiary trio.

 

Aside from his tenure with the T-Birds, Hubbard anchored tracks, slabs, and/or gigs with Bonnie Raitt, The Vaughan Brothers, Duke Robillard, Etta James, Professor Longhair, Carlos Santana, Albert King, Albert Collins, Nick Curran, and The Blues Brothers among others.

 

Sadly Hubbard’s career was derailed by substance abuse, however his legacy lives in his grooves!

 

Preston Hubbard Sound & Vision…

 

Fabulous Thunderbirds:

 

“Tuff Enuff” https://youtu.be/EcXT1clXc04

 

“Wrap It Up” (official video) https://youtu.be/51270i8F3mU

 

“Wrap It Up” by KYBP Adjunct Professor Tony Senatore with testimonial  https://youtu.be/OjoN0Paq_fQ

 

“It Comes to Me Naturally” https://youtu.be/Y5XSzUGcmIk

 

“Stand Back” https://youtu.be/FDp195RuPjA

 

“Powerful Stuff” https://youtu.be/hzQ2Extfvj4

 

The T-Birds with Duke Robillard: https://youtu.be/r-bU7ZPwoUI

 

Bonnie Raitt: “The Road’s My Middle Name” https://youtu.be/cxoIXHiE9Q8

 

Courtesy of Fabulous Thunderbirds Com

Photo courtesy of Paul Gray Bass Online. Com

 

He is a bass player you recognize in a single passage!

 

Renowned for his tenure in Eddie & The Hot Rods, The Damned, UFO, and his work with Johnny Thunders and Rob Tyner, among others, Paul Gray is the harmonic and rhythmic anchor of Professor & The Madman – an all-star collective featuring the diverse talents of singer / multi-instrumentalists Alfie Agnew (Adolescents, D.I.) and Sean Elliott (D.I., Mind Over Four); along with drummer Rat Scabies of The Damned. From lockdown in his home studio in Cardiff Wales, Paul discusses the latest PATM album Séance (November 2020), his storied history, Sensible Gray Cells, his love of Rickenbacker basses, and future plans – including remote recording and more.

 

Tom Semioli Writer / Interviewer. Mark Polott / editor. Mark Preston / Executive Producer. Props to Randy Haecker of Prime Mover Media! 

 

 

Shades of Paul Gray Part One: https://youtu.be/UXQGpeA52Z8

 

 

Shades of Paul Gray Part Two: https://youtu.be/zEcO4A8U-M0

 

 

 

 

 

By Tom Semioli / Huffington Post / May 2014

 

Rock ‘n’ Roll is American music. In the late 1950s there were no UK role models for the electric guitar, except for a middle-aged player named Bert Weedon, who wrote a book at the time called Play In a Day. To learn the guitar we had to listen to solos by James Burton, Cliff Gallup, Chet Atkins or Buddy Holly — either on 78 RPM records, or radio stations such as Luxembourg or Voice of America. In addition, a post-war trade embargo which lasted until 1960 meant we couldn’t buy anything American — how could we play this music seriously without Gibsons or Fenders?” — Mo Foster

 

From the Baby Boomers who experienced the British Invasion firsthand and started a band, to the seventies teens who rummaged through mom’s closet to approximate the appearance of Messrs. Ferry, Bowie and Bolan in preparation for a high-school gig; to the scores of alienated youth who found salvation in the sounds of Robert Smith’s Fender Jazzmaster — some of us owe our lives, for better or worse, to British rock guitar.

 

Despite Mo’s above referenced proclamation, along with the general consensus that Americans officially invented rock ‘n’ roll by pillaging bits and pieces of country and blues whist cranking up the volume — and that Elvis was somehow referred to as “King” even in the presence of Chuck Berry — it was the Brits by way of The Beatles who transformed rock ‘n’ roll from adolescent novelty music to an art form that refuses to become irrelevant no matter how hard some celebrated personalities and television networks try. And for the record (pun intended), the Fab Four’s guitar-wielding peers, namely the Rolling Stones, Yardbirds, The Who, Kinks and Animals, made a lasting sonic imprint that the Yanks couldn’t touch. Even Jimi Hendrix had to migrate to London to be noticed. If American impresario Sid Bernstein had not made that historic phone call to Beatles’ manager Brian Epstein, we would have had to suffer through 50th Anniversary celebrations of Pat Boone, The Kingsmen, Bobby Rydell and Bobby Vinton!

 

Enter UK bassist Mo Foster — renowned amongst musos for his brilliant work in the recording studio and on stage with hundreds of artists including Jeff Beck, Van Morrison, Phil Collins, Gil Evans and the London Symphony Orchestra — and likely several uncredited sampled tracks by hip-hop artists. Mr. Foster has authored the definitive book on a subject that would have otherwise been lost for present and future generations of rockers: British Rock Guitar: The First 50 Years – The Musicians and Their Stories, which is available via Northumbria Press. From present day indie rockers to anyone who played in an amateur or pro band in the past half century, to the most dedicated followers of any permutation of rock’s limitless sub-genres — Mo Foster’s extensively researched and entertaining tome is essential reading.

 

Through Foster’s own vivid and oft humorous recollections along with momentous remembrances from the most recognizable musicians who were there when it all started, namely Eric Clapton, Paul Rodgers, Richard Thompson, Deep Purple bassist Roger Glover, Ron Wood, Roxy Music’s Phil Manzanera, Mike Rutherford of Genesis, John Lennon, Paul McCartney and George Harrison, to name a few — the reader is transported back to a romantic, adventurous age wherein guitars and amplifiers were fashioned from cigar boxes, tea chests, pencil cases, fuse wire and bread toasters.

 

For me, it was the realization that every player in Britain, including Jeff Beck and John Paul Jones, endured the same problems of having no access to good instruments — it was a leveling experience.

 

The images which run through British Rock Guitar are astounding — many of which have never been seen by the general public before.

 

Initially the photos were from my own collection — but slowly I was able to persuade the cast to look through their own cupboards and let me use the rare photos that turned up — many of which paint a picture of a very different time.

 

Among the enlightening visuals include: vintage print ads from respectable instrument companies such as Hofner to the countless fly-by-night outfits which sold guitars that essentially fell apart after a few plays; childhood shots of rock guitar maestros Paul Kossoff (Free), Gary Moore, Martin Barre (Jethro Tull), Andy Summers (The Police), Ritchie Blackmore, and Steve Winwood playing their earliest and most primitive instruments; the legends in their formative years — Chris Spedding, Allan Holdsworth, Mark Knopfler, Albert Lee, among others; dated business cards from future icons and obscure rockers; fly-on-the-wall photos from Abbey Road, UK dancehall gigs featuring soon-to-be rock stars, Hamburg’s infamous Star Club; and color portraits of some of the most collectible objects — portable mono record-players, guitar string packets, instruction books — essential to the telling of rock ‘n’ roll’s timeless saga.

 

Foster, who likely could have enjoyed an equally successful career as a stand-up comic, punctuates this timeless tome with several hysterical vignettes detailing the essence of life as a musician when rock ‘n’ roll was new — first gigs, auditions, tales of the road, toiling in the Red Light District (i.e. the recording studio), pranks on and off the bandstand, and a choice menu of wonderfully wicked quips from fellow musicians in the trenches.

 

Mo Foster – BRITISH ROCK GUTAR published by McNidder & Grace (2013)