Among the heroes of the classic rock era, the James Gang brought attention to two bona-fide guitar heroes: founding member Joe Walsh, and the late Tommy Bolin.
Bassist Dale Peters, who came aboard for the band’s definitive platter Rides Again (1970), was a versatile player who also composed, sang, and doubled on keys, guitar, and percussion.
To my ears, Peters’ extended bass improve as heard on “Lost Woman” from Live In Concert (1971) proves that excess is not necessarily a bad thing!
From KYBP Readers:
Dale, thanks for all the great bass lines. I’m still learning from your playing 35 years later. Dan O’Brien
“My Door Is Open” has the best bass track of all time. Absolutely the most overlooked track in ROCK AND ROLL HISTORY! The drummer banged it out pretty good too. I imagine these guys had a lot of fun playing this song together. Loji
Two 70’s seminal six-string slingers; Tommy Bolin and Peter Frampton, called upon Stanley Sheldon to anchor their ensembles and watershed slabs. A native of Ottawa, Kansas – Sheldon’s approach to the instrument draws from a wide array of influences including rhythm & blues, soul, jazz, Latin and permutations thereof . It was Stanley’s grooves and harmonic support which fortified his bandleaders’ artistry on record and on stage. A finesse player who rocks with the best of ’em, check out….
With drummer John Siomos, and keyboardist Bob Mayo, Stanley brought out the best in Peter Frampton on one of the greatest live collections committed to vinyl, 8-Track, cassette, and streaming: Frampton Comes Alive (1976). Throughout Alive! Sheldon works the lower-register pocket with a punchy soulful feel which complimented Frampton’s extended improvisations. Most players would have slid all over the neck given the instrument’s tendency to “encourage” gilssandos and harmonics – however Sheldon grooved with space aplenty, which is why those recordings still sound fresh nearly a half-century later.
Also note that along with Kenny Passarelli (who recommended Stanley for the Frampton gig), Boz Burrell, Rick Danko, and Bill Wyman – Stanley Sheldon was among the first bassists to utilize a fretless (Fender Precision) in a pop rock context.
Stanley Sheldon Sound & Vision…
Tony Senatore with his “Sheldon fretless P Bass” rendering a few of Stanley’s signature Frampton passages:
“What can I say about Peter that has not already been said? He was, and, continues to be one of the greatest inspirational figures in the world of music… to his countless fans in general… and to me in particular. We were both born in 1950, but on different sides of the Atlantic Ocean. I truly believe Peter and I came into this world as synchronistic musical soulmates… destined to play together from the beginning.” – Courtesy www.StanleySheldon.Com
An educator, devoted student of Latin American studies and world music, among other endeavors, Sheldon has also cut records and/or toured with Lou Gramm, Ronin (with Waddy Wachtel, Rick Marotta, Dan Dugmore), subbed for Mel Schacher in Don Brewer’s Grand Funk Railroad, anchored Delbert McClinton, and Warren Zevon to cite a few – and continued to work with Frampton on and off until his bandleader’s forced retirement due to illness.
Photo Courtesy of Stanley Sheldon Com
Be sure to check out www.StanleySheldon.Com – his Diaries are a fascinating glimpse into his career and artistry.
Reggie McBride (Stevie Wonder, Tommy Bolin)
Aretha Franklin wanted him in her band when he was 14 years old. At 16 he was on the road with The Dramatics and James Brown. And at 19, Reggie McBride became a member of Stevie Wonder’s ensemble and played on the multiple Grammy Award winning classic Fulfillingness’ First Finale (1974).
A Detroit native, McBride absorbed the music of his hometown Motown and brought his unique combination of finger playing and slap technique to seminal sides by Rare Earth, Ry Cooder, Keb Mo, Funkadelic, Herbie Hancock, Phoebe Snow, Van Morrison, Minnie Riperton, David Lindley, Rod Stewart, BB King, Elton John (21 at 33, The Fox), and Rick Springfield, among many others.
On Tommy Bolin’s Private Eyes (1976) Reggie dispatched with any semblance of rock phrasing and plied gritty funk, R&B, and reggae lines which the late guitarist soared over.
Reggie’s 2005 solo album Element is a smooth jazz diamond in the rough.
