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 ComparativeWealth / 1981), toiled in various ensembles, produced, lectured, and returned to the band briefly in the early 1990s for one of their numerous reunions.
Kenny Passarelli (Elton John, Hall & Oates, Joe Walsh)
By Thomas Semioli
A composer, producer, bandmember, collaborator and recording artist – Kenny Passarelli has been the go-to bass player for numerous Rock and Roll Hall of Fame artists, serving as the harmonic and rhythmic catalyst on several seminal sides, and ensembles.
Born in Denver, Colorado, Kenny’s musical journey began as a classical trumpet player – studying with Byron Jolivett, and performing with the “Inaugural Band” as a member of the Denver Junior Police Band.
Following his meeting with Stephen Stills, who played him demos of his new group Crosby Stills Nash &Young, Kenny opted for a career in rock and roll. Though he missed the opportunity to work with the iconic guitarist at Woodstock in ‘69, Kenny nailed a gig with Joe Walsh, fresh out of the James Gang, with his band Barnstorm also featuring drummer Joe Vitale.
Working on-and-off with Walsh throughout the 70s, Kenny co-authored “Rocky Mountain Way” and his ascending fretless motif enabled Wash to live a “Life of Illusion” – another classic rock track which he co-wrote with Walsh.
Along with Rick Danko and Boz Burrell, Kenny was an early proponent of the fretless bass in a rock context which he plays with a decidedly soulful / rhythm and blues approach.
At the recommendation of Walsh, Kenny was the foundation of Reg Dwight’s second greatest band as heard on Rock of the Westies (1975), Blue Moves (1976), and the archival Captain Fantastic Live at Wembley (2005).
As the bedrock of the Darryl Hall & John Oates band, Kenny waxed Livetime and Along the Red Ledge (1978) in addition to Hall’s iconic Sacred Songs slab.
Courtesy of Hall and Oates Com
Dig Tony Senatore’s renditions of Kenny’s select work with Darryl Hall and John Oates:
Several musical guests on Live From Daryl’s House have rendered compositions from Sacred Songs with their esteemed host– and with good reason: it stands among the seminal slabs of its era!
Go figure why RCA shelved it for three years fearing its lack of commercial potential.
Produced by Robert Fripp, who also renders his signature sonic guitar soundscapes, Sacred Songs prominently features the core of Sir Elton’s most dexterous ensemble : guitarist Caleb Quaye, drummer Roger Pope, and bassist Kenny Passarelli. The tracks, which were recorded in 1977, burst forth with the vibrancy a concert performance – even though they never played ‘em on stage!
Kenny works his gritty soul influences from cut to cut, and keeps the pocket percolating when reinforcing Daryl’s left-hand keyboard motifs throughout.
Dig Tony Senatore’s rendition of Kenny’s bass passages from Sacred Songs…
Kenny also shined on notable slabs by Stephen Stills (Stills and Stephen Stills Live -1975), Rick Derringer (All American Boy / 1973), Otis Taylor, and Dan Fogelberg (Souvenirs / 1974), among others.
His impressive solo canon, which also features Kenny’s talents as a pianist, includes releases which are a meld of classical, new age, and Spanish heritage.
Coda: In November 2016, I cited Kenny Passarelli among Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame in Huffington Post http://huff.to/2gHNIOA in the Musical Excellence category.
Among Kenny’s weapons of choice include the Fender Jazz bass, and the fretless Fender Precision bass.
Joe Schermie (Three Dog Night)
He anchored one of the most successful ensembles in the history of popular music – and one which furthered the careers of several iconic songwriters including Elton John and Bernie Taupin, Laura Nyro, Paul Williams, Harry Nilsson, Hoyt Axton, and Randy Newman – to cite a very select few.
We all know Jeremiah was a bullfrog, however if you came within earshot of an AM radio in the late ‘60’s – early 70s you also know the work of late Joe Schermie by way of “One,” “Easy To Be Hard,” “Eli’s Comin” “Celebrate,” “Mama Told Me Not to Come,” “Joy to the World,” “Liar,” “Old Fashioned Love Song,” “Never Been To Spain,” and “Black & White” among others.
Three Dog Night was America’s premier pop singles band of the era, knocking out 21 Top 40 hits between ‘69 and ’75.
Founding bassist Joe Schermie (nee Shermeltzer) was their soul-inspired harmonic bedrock: always in the pocket, rendering all the right notes with a diversity of rhythmic variations, and allowing space within the songs for their remarkable triumvirate of singers to shine. Joe was a true finesse player with a rock ‘n’ roll edge. Schermie’s weapon of choice was the Fender Jazz, which he customized, and affixed a fuzzy Troll doll to the headstock which he never explained!
A powerhouse live ensemble, Three Dog Night’s album tracks where equally as engaging as their singles – dig their rendition of a Beatles track which was never officially released by the Fab Four “It’s For You” from Captured Live at the LA Forumhttps://youtu.be/PFaIwt6nfdU
Following his dismissal from the band in ‘73 – for reasons unknown, Joe later emerged in the ensemble S.S. Fools featuring Bobby Kimball who would go on to front Toto, along with former TDN members Mike Allsup and Floyd Sneed, who were also axed, again, for reasons unknown. They waxed one slab which sank in the marketplace which was now focused on punk, disco, and hard rock.
In his later years, Joe worked in various ensembles – some with Floyd Sneed, which featured his former band’s hits, and new material. Schermie passed at age 56 in 2002 shortly after the filming of the aforementioned television show.
He was among the most revered (and funkiest) of all the Jeff Beck Group bassists even though he appeared on only two of the legendary guitarist’s releases – both of which were somewhat out of fashion upon their appearance in the early 1970s when hard and progressive rock were dominating the landscape.
A UK by way of Trinidad session ace, Clive Chaman brought a fluid, soulful disposition to the artists he anchored. On the aforementioned Beck sides – Rough and Ready (1971), and Jeff Beck Group (1972) aka “Orange Album – Chaman plied harmonic extensions and grooves aplenty as Beck gradually transitioned from a hard rocker to a jazz fusion artist. Chaman came to the attention of Beck by way of his work with Ram John Holder on the ‘69 release London Blues.
When Beck pulled the plug on this edition of JBG, Clive teamed with the band’s iconic drummer Cozy Powell’s Hammer collective.
Following his time with Powell, Clive partnered with another Beck Group alumnus, singer Bobbie Tench, and waxed a side with Junior Marvin’s Hanson Now Hear This (1973) which also featured Jean Roussel (Cat Stevens, Joan Armatrading), Rebop, and Chris Wood.
In ‘75 Clive hooked up with jazz rockers Hummingbird – again, with former Jeff Beck Group ‘71-’72 members Tench, and keyboardist Max Middleton, along drummer Bernard Purdie.
Chaman also anchored seminal slabs by the Brian Auger Express, Donovan, and Paul Kossoff.
As pictured, Clive’s weapon of choice back in the 70s was Fender Precision!
