A composer, sideman, collaborator, producer, singer, recording artist, educator and bassist… Fernando Saunders a one-man orchestra!

 

His tenure with Lou Reed is a master class in the symphonic powers of the fretless bass in a rock context.  Akin to Sir Paul, Brian Wilson, Ron Carter, Paul Chambers, and Jaco Pastorius – to cite  a select few – Saunders’ approach to the instrument is composition. His bass passages are songs within the songs – employing chord extensions, harmonics, pedal tones, and sustained notes, among other techniques to serve the singer, songs, and melodies. 

 

Fernando has waxed seminal sides with Lou, Jeff Beck, John McLaughlin, and Marianne Faithfull, among others, and his collaborations are numerous. Be sure to check out Fernando’s solo slabs as well which traverse jazz, funk, rock, rhythm & blues, new age, pop, soul and permutations thereof!

 

Fernando Saunders Sound & Vision….

 

Fernando with Lou:

 

“Legendary Hearts” https://youtu.be/Ltk-F6eFfmc

 

“My House” https://youtu.be/Dtiih7wk4uQ

 

“Pow Wow” https://youtu.be/VS5mzCDz2vQ

 

“New Sensations.” https://youtu.be/PrXIoHyfObg

 

Fernando with Jan Hammer and Jeff Beck:

 

“Earth (Still Our Only Home)” https://youtu.be/2i9tEXyDqes

 

Fernando with John McLaughlin and the One Truth Band: “Electric Dreams Electric Sighs” https://youtu.be/18Lnod4TAsY

 

Fernando with Marianne: “Times Square” https://youtu.be/B8CqnKYfNTQ

 

“Live in LA” (Part 1) https://youtu.be/In0_XQfbiyw

 

“Live in LA” (Part 2) https://youtu.be/nDwQrziwW0M

 

Fernando flying solo “I Will Break Your Fall” https://youtu.be/3Cr_WgCxBJE

 

Keep up with all things Fernando:  http://fernandosaunders.net/

 

 

“Levon wears his war wound like a crown …he calls his child Jesus ’cause he likes the name…“

“No regrets, no tears goodbye…don’t want you back again…”

He’s one of those cats whose name appears in the credits of seminal sides aplenty, yet little is known about him other than his recorded work.

A prolific UK studio player, composer, and multi-instrumentalist (upright / woodwinds) in the golden age of the 70s album era, Brian Odgers excelled in the pocket and as a melodic master. Odgers’ laudable recorded legacy includes John McLaughlin, Elton John, Lou Reed, Roger Daltrey, Van Morrison, Georgie Fame, The Walker Brothers, Al Stewart, Vangelis, Shawn Phillips, Chris de Burgh, Serge Gainsbourg, Roger Chapman, and a struggling young songwriter named Marc Bolan, to cite a very select few!

Akin to many studio players, Odgers also made attempts to break through on his own, most notably with the ensemble Sweet Thursday, which featured session ace Nicky Hopkins, and Slim Chance / Cat Stevens guitarist Alun Davies.

Dig Brian with Sir Elton “Levon” https://youtu.be/SEgEmTgAEUk

Dig Brian with The Walker Brothers “No Regrets” https://youtu.be/aQNEYb0zp0I

Dig Brian with John McLaughlin “Extrapolation” https://youtu.be/SEgEmTgAEUk

Dig Brian with Serge “Marilou Reggae” https://youtu.be/07MezqbbeXU

Dig Brian with Sweet Thursday on his composition “Molly” https://youtu.be/MOC1SSb6Xzk

Dig Brian with Lou “Ride Into the Sun” https://youtu.be/MeUHGhKObWg

Of all Lou Reed’s remarkable ensembles, the one collective that garners the least attention, yet deserves accolades aplenty, was anchored by Ellard- James Boles. Commencing with Take No Prisoners in 1978, a swinging live set wherein Lou’s stream of conscious humor displaces his habitual street hassled libretto, “Moose” grooves heartily akin to a big band bassist.

 

 

Courtesy of Ellard James Boles Facebook

 

From Take No Prisoners, here’s Moose working a soulful pocket with Lou on radical remakes of “I’m Waiting for the Man” https://youtu.be/pZLKlQsWfgY  and “Satellite of Love” https://youtu.be/aAoZTP4dIA0

 

Lou also benefits from the mighty Moose’s soulful disposition on The Bells (1979) and Growing Up in Public (1980).  As I was witness on numerous occasions, this band delivered on record and on stage despite the fact that Lou was at a commercial ebb – which eventually righted itself when artists of Reed’s stature were afforded legacy status in the mid-1980s as CD reissues came into vogue. If you missed them the first time around, discover Lou’s slabs with Moose Boles.

 

 

 

“The Power of Positive Drinking” https://youtu.be/P0F45-Fyl2E

 

“Think It Over” https://youtu.be/gDx3EpDIRww

 

A multi-instrumentalist, singer, composer, producer, sideman, recording artist – nowadays Moose fronts his Bulletproof Blues Band, among other projects.

 

Dig Moose and The Bulletproof Blues Band: https://youtu.be/_kNcBPpFNrQ

 

Boles’ history will bowl you over as well – among his collaborators include Gregg Allman, Stevie Ray Vaughn, David Bowie, Buddy Miles, James Cotton, Lonnie Brooks, Junior Wells, C. J. Chenier, John Belushi, Steve Marriott, and Steve Miller.

 

Dig Moose’s rendition of “Hoochie Coochie Man” https://youtu.be/u1VTOJbHCX8

 

 

For all the hipster hosannas heaped upon the Velvet Underground – and deservedly so, one essential member who is oft overlooked is bassist / multi-instrumentalist / singer / composer Doug Yule. Yule joined the ranks upon John Cale’s dismissal in 1968 and played a major role in the Velvet’s evolution. Doug anchored two seminal slabs and several archival and live releases which have inspired generations of rockers.

 

Unlike Cale, who was somewhat indifferent to the instrument, Yule was a fluid player and vocalist who complimented Lou’s gravitation from the avant-garde towards the then burgeoning singer-songwriter movement.

 

Though The Velvet Underground & Nico (1967) and White Light/White Heat (1968) were critically acclaimed groundbreaking efforts; to my ears Velvet Underground (1969) and Loaded (1970) both with Yule, represent the band’s most enduring works.

 

When VU finally split following Lou’s departure and the recording of Squeeze (1973), which was essentially a Yule solo album under the VU moniker to fulfill contractual obligations / management shenanigans –  Doug founded American Flyer with Steve Katz (Blood, Sweat & Tears), Eric Kaz (Blues Magoos), and Craig Fuller (Pure Prairie League).

 

Despite critical acclaim the Flyers’ two Americana flavored releases, produced by George Martin, failed reach a wide audience. In addition to a tour or two with Lou, Doug anchored the cut “Billy” from Reed’s only Top Ten album – Sally Can’t Dance (1974) and appears on the 30th Anniversary edition alternate takes from Coney Island Baby (1975). Doug also waxed tracks with Elliott Murphy which were released on his stellar platter Night Lights (1976).

 

When the Velvet’s reunited for a money grab tour and live twofer in 1993, Yule was not invited despite the insistence of Sterling Morrison.

 

And Doug’s omission from the Velvet Underground’s Rock ‘n’ Roll Hall of Fame induction is inexplicable – especially given the fact that the majority of the band’s signature tracks feature Yule on bass and vocals! 

 

Tom Semioli / Huffington Post 2015  Doug Yule “Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame: Doug Yule” https://bit.ly/2VpzRyy

 

Doug Yule currently lives in Seattle, and plays, restores, and makes violins. Follow him at www.dougyule.com

 

 

 

Doug Yule Sound & Vision…

 

Velvet Underground:

 

“Candy Says” https://youtu.be/O4rbTBKRedE

 

“New Age” https://youtu.be/Z_-NAdntfqk

 

“Lonesome Cowboy Bill” https://youtu.be/MdqdietRww8

 

“Mean Old Man” (from Squeeze / 1973) https://youtu.be/0qh3rXu5cNY

 

Lou Reed: “Billy” https://youtu.be/U2WUlRDFmAI

 

American Flyer: “Lady Blue Eyes” https://youtu.be/0SzaJD5MhsU

 

 

When Lou Reed decided to transform his persona from underground artist to a bona-fide arena rocker, he enlisted guitar shredders Dick Wagner and Steve Hunter, drummer Whitey Glan, keyboardist Ray Colcord, and bassist Prakash John to forge his sonic assault. The result was one of rock’s greatest concert releases: Rock n Roll Animal (1974) – and one of rock’s greatest bass performances.

 

With Steve Katz in the producer’s chair, John and the band essentially threw every motif imaginable against the wall and somehow all of it stuck!

 

With a strong foundation in his native Indian music, along with studies in classical, and a passion for rhythm & blues borne of his dues paying days in Toronto based Top 40 bands, John’s harmonic extensions and endless rhythmic variations within the most basic of rock chord progressions were inventive ala Jack Bruce. Perhaps Jaco heard Prakash with Lou and decided to tweak his bridge pickup – we’ll never know. John’s soulful playing on Sally Can’t Dance helped Lou nail his only Top 10 album.

 

After Lou sacked his Animal band, John and his mates went to work for Alice Cooper and replicated their signature din as heard on the live Alice Cooper Show album.

 

Prakash John Sound & Vision…

 

Lou Reed:

 

“Intro / Sweet Jane” https://youtu.be/KqpWTC-rvhQ

 

“Sally Can’t Dane” https://youtu.be/gbfB9z4Am-E

 

“Vicious” video clip: https://youtu.be/gYUIZg3bhjU

 

Alice Cooper:

 

“Under My Wheels” https://youtu.be/o_oQa0dTQSI

 

“School’s Out” video clip with bass solo: https://youtu.be/Kbz7ZI6S6oU

 

Steve Hunter: “Eight Miles High” https://youtu.be/0KtgqCiiIhE

 

Prakash John & The Lincolns: “How Sweet It Is” https://youtu.be/27NO95PdPQg

 

Matt Schofield: “Black Cat Bone” https://youtu.be/qZZpezJcPl0

 

Jordan John “Do Right Woman” https://youtu.be/OdcwqSe1o14