Bob Dylan Archives | Know Your Bass Player

Tom’s Deep Trax & Seminal Sides Volume 2

MIKE WATT “Good God’s Urge” Pornos for Pyros

The alt-rock bass maestro vacillates between upper-register melodicism and pocket riffage on this trippy Peretz Bernstein composition.

Live Acoustic Version: https://youtu.be/It1u7FtJ8gE

Studio Version: https://youtu.be/lrN0f94W7Xw

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MELISSA AUF DER MAUR “Out of Our Minds”

The power of…one note! Dig Melissa’s hypnotic bass loop intro which morphs into airtight lower register grooves with Vince Nudo’s kick-drum.

“Out of Our Minds” https://youtu.be/OHan_RwI_VU

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BILLY PETERSON, TONY BROWN: Blood On The Tracks Bob Dylan

Most bandleaders / producers would have opted for the doghouse. Waxed in the waning days of ‘74, Bob’s Blood on the Tracks stands among his (numerous) classics and an exquisite example of the subtle powers of the electric bass in an acoustic folk context. Tony Brown anchored the September A&R NYC dates (“Simple Twist of Fate,” “You’re Gonna Make Me Lonesome,” Meet Me in the Morning,” “Shelter from the Storm,” “Buckets of Rain”). Billy Peterson (pictured) helmed the December Sound 80 Minneapolis sessions (“Tangled Up in Blue,” “Idiot Wind,” “Lily, Rosemary, and the Jack of Hearts”). Sans charts with minimal direction, the bassists fixated on Dylan’s every nuance whereas many other backing musicians who couldn’t “catch” Bob were dismissed one by one.

Nowadays Americana artists aplenty opt for the upright, however the warmth of the Fender P and phrasing borne of an electric bass afford these recordings a modernist twist (pun intended) despite the fact that they were cut nearly a half-century ago. Everything new is old again.

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NORMAN WATT ROY “Hit Me With Your Rhythm Stick” Ian Dury and The Blockheads

“He’s the man with the face, from outer space, on his faith and grace” bellowed the late, truly great Ian Dury of his virtuoso bassist Norman Watt-Roy. A rite of passage for players of my generation, Norm’s Jaco inspired (spot the “Teen Town” riff) motifs brilliantly underpin Dury’s lunatic libretto. Sometimes busy is better!

Ian Dury “Hit Me With Your Rhythm Stick” https://youtu.be/0WGVgfjnLqc

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BENNY RIETVELD “Are You Ready” Santana / The Isley Brothers

Notes From An Artist Radio / Podcast / Video Series guest Benny Rietveld takes the staccato 16^th note Francis Rocco Prestia route replete with a dub resonance that would do Robbie Shakespeare proud on The Chambers Brothers classic “Are You Ready” from the amazing collaborative LP Power of Peace. Essential!

“Are You Ready” https://youtu.be/lHK9vzhxxLE

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GORDON EDWARDS: “Let’s Go Down to Lucy’s” Leon Thomas

The bass in the hands the master, Gordon Edwards, serves as the melodic hook and the anchor – double stop included! And that’s Bernard Purdie on drums…from the slab Blues & The Soulful Truth (1973).

“Let’s Go Down to Lucy” https://youtu.be/xx4uOZ77KLk

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JOHN GUSTAFSON / OVEREND WATTS / PAUL PAGE “Lounge Lizard” IAN HUTNER / MOTT THE HOOPLE ’74.

Yet another Ian gem, “Lounge Lizard” was originally intended as a B-Side for Mott’s “Saturday Gigs” swansong. The original with Overend Watts was probably the last blast of Hoople bombast abetted by the profound plinkery of Morgan Fisher. The first released version appears on Ian’s s/t debut with bassist John Gustafson taking a more soulful / pocket approach. For the Mott ’74 reunion tour, KYBP On Film star Paul Page negotiates between his predecessors with equal measures of rhythm and bluster. Great songs make for great basslines….

Ian Hunter: https://youtu.be/lQ7Mm_TkJOE

Mott The Hoople: https://youtu.be/xPQByEZE8Y8

Mott The Hoople ‘74 https://youtu.be/dnf3z62mP9U

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BILL WYMAN “Jivin’ Sister Fanny” Rolling Stones

Why this killer coldcocked Stones cut never found its way on an official slab is beyond me! Dig the former William Perks’ equitoxic quarter-note groove abetted with more supplementary fills and upper-register grace notes than the stone-faced bassist is typically noted for. Best B-side ever? Could be. Imagine if Joey Kelly. Michael Muller / Dave Donen covered this track…

Audio Link: https://youtu.be/LgVo0Krv6Yg

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MICHAEL HENDERSON: “Right Off” Miles Davis

The jazz police continue to debate these sides, which to my ears, reverberate magnificently decades after their release. With hypnotic repetitive motifs and piercing upper register fills Michael Henderson anchored Miles’ most controversial, groundbreaking, and influential jazz funk recordings. “Right Off” kicks off with a James Brown “inspired” motif in the universal funk key of E then abruptly jumps to Bb – though it took a few bars for Henderson to catch on. Regardless, “Right Off” is a jazz fusion touchstone. Following his tenure with Davis, Henderson forged a successful career as a contemporary jazz singer, composer, and recording artist.

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DAVEY FARAGHER “Farewell, OK” / “The Boy Named If” Elvis Costello & The Imposters

Yes, Declan’s Imposters are indeed “The Subtractions” (as in minus Bruce Thomas), but there’s evidence aplenty on the last few EC slabs (especially Look Now / 2018) that bassist Davey Faragher has been studying the work of his irreplaceable predecessor with remarkable attention to detail. Ditto producer / engineer Sebastian Krys taking liberties (pun intended) from Nick Lowe’s approach to The Attractions classics in both sound and execution. Eschewing the (yawn) pocket for melodic motifs, glissandos, and upper register riffery – check out “Farewell, OK” and the title cut- Faragher gives further credence to the credo that imitation is the sincerest form of ….flattery! Even the album art evokes comparison to Blood and Chocolate… Imperial Bedroom. Oh well, if it worked the first time around….

“Farewell, Ok” https://youtu.be/eGcbRIX0Fjw

“The Boy Named If” https://youtu.be/9Tjuygr65SU

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JIM RODFORD “(Wish I Could Fly Like) Superman” / The Kinks

During the 70s’ disco zeitgeist rockers aplenty including the Rolling Stones (“Miss You”), Sir Rod (“Do You Think I’m Sexy?” Macca (“Good Night Tonight”), Kiss (“I Was Made for Loving You”), and even The Clash (“Magnificent 7” with Blockhead maestro Norman Watt-Roy in the bass chair) all set their sights on the dance floor. All but Strummer sacrificed their street cred. Ditto Ray Davies with his self-effacing social commentary on the aforementioned single from their stellar Low Budget (1979) collection. The late, truly great bassist Jim Rodford eschews the usual cliches for a punchy descending motif which served the song well and translated note for note when The Kinks rocked this tune on-stage – as I was witness. That’s Jim and I at The Horn in St. Albans (2014) with his modded Fender Mustang which he used on most of the band’s sessions and gigs.

“(Wish I Could Fly Like) Superman” https://youtu.be/DV-4Ge78OaI

Tom’s Deep Trax & Seminal Sides Volume 1

ROBBIE SHAKESPEARE: Bob Dylan “Too Late”

Audio link: https://youtu.be/RUT7N8RYgSI When is “too many notes” not too many notes? Right here! Dig Robbie’s double-time riddum on this Zimmy outtake entitled “Too Late,” metamorphosing a mid-tempo folk ditty into a groovin’ reggae psalm! And the libretto ain’t to shabby either…

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JERRY SCHEFF: Mick Jagger “Memo From Turner”

Audio Link: https://youtu.be/yCoCgB3eIU4 Recorded by the Stones a few months following the Beggar’s Banquet sessions in ‘68, various versions of this incendiary track from Mick’s Performance film have found its way on to bootlegs. However the official release is the definitive, produced by Jack Nitzsche in L.A. with session cats aplenty: guitarists Ry Cooder and Russ Titelman, Randy Newman on piano, drummer Gene Parsons, and bassist Jerry Scheff.

Presley’s late 60s-70s anchor drenches his trad Fender P bass tone with distortion, and he’s a far busier player than the former William Perks, affording this somewhat forgotten gem of a recording a decidedly southern fried rhythm & blooze veneer abetted by Jagger’s jagged drawl.

HERBIE FLOWERS: David Bowie David Live

Introducing Ziggy Souldust….

It could be the greatest concert recording ever by a major rock artist …or the worst.

Despite overdubs aplenty, a near mutiny by his backing band (allegedly commandeered by this bassist), and horrific reviews – the former David Jones’ first (and to my ears finest) live set waxed in the summer of ’74 is a fascinating, futuristic, and funky meld of glam, soul, theater, and avant-garde.

Anchoring an all-star ensemble which featured Earl Slick (guitar), Michael Kaman (keys), David Sanborn (sax), Tony Newman (drums), Warren Peace and Gui Asandro (backing vocs), Pablo Rosario (percussion), and Mike Garson (piano), Richard Grando (sax/flute) was virtuoso session bassist Herbie Flowers.

Herbie’s sizzling staccato lines, jazzy harmonic counterpoint, and rhythmic variations re-cast David’s Ziggy era canon with a decidedly Broadway flair.

Akin to Robert Zimmerman, Bowie completely reinvents his canon on this now expanded twofer which blew minds aplenty upon its winter release. I’m sure it took concertgoers a few minutes to figure out what song the motely were rendering. Every now and then a cocaine fueled train wreck works, that’s David Live at the Tower Philadelphia.

Kudos to producer Tony Visconti for pushing Herbie up in the mix!

“Moonage Daydream” https://youtu.be/SOYNkDPqsso

“Suffragette City” https://youtu.be/WuyTVxvfIig

“1984” https://youtu.be/JIPt9UpHtXQ

“Rebel Rebel” https://youtu.be/QLyDNl0rfi0

“Sweet Thing” https://youtu.be/CiydgQymvTE

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BRUCE THOMAS: Elvis Costello & The Attractions Punch The Clock

Times, trends, tones, and technology were a-changin’ during the Reagan / Thatcher era, hence the trad low-end resonance of Fender and Danelectro, among other studio staples, could not compete with the barrage of snazzy synthesizers that dominated the pop music landscape.

As such many a bassist opted for more treble trolling instruments. Enter Bruce Thomas on Declan’s superb 1983 platter Punch the Clock with his “electric Wal bass guitar” as listed in the album credits. Featuring Chet Baker and TKO sax colossus / clarinetist Geoff Blythe (listed as “Jeff”), Bruce’s signature countermelodic harmonic forays forged a decidedly sharper twang.

Thomas’ tempered timbre manages McManus’ melancholy melodies and “sugary” stanzas quite magnificently.

“Everyday I Write the Book” https://youtu.be/V1d4r9awjKE

“Let Them All Talk” https://youtu.be/NaYJCfenR20

“Invisible Man” https://youtu.be/3o-iZ_GfTTs

DAVID HOOD: Traffic On The Road

Extended live slabs are oft ponderous affairs, however this terrific Traffic twofer with Muscle Shoals “Swamper” David Hood in the bass chair is the rare exception.

Waxed in Germany ’73 – dig the “wir fahr’n fahr’n fahr’n auf der Autobahn” cover artwork – Hood along with polyrhythmic percussive purveyors Jim Capaldi, Rebop, and Roger Hawkins stir up a Bitches Brew brouhaha on super stretched out renditions of the studio originals.

Hood masters the pocket – rendering subtle variations on what are essentially jam vamps tailored to the improvisational prowess of Messrs. Chris Wood, Steve Winwood, and second keys man Barry Beckett.

“Glad / Freedom Rider” medley https://youtu.be/K37bsDlutes

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JOHN BAKER SAUNDERS: Mad Season Above

Doomed by drug addiction, this 1990s alt-rock super group comprised from Seattle’s finest – Alice in Chains (Layne Staley), Pearl Jam (Mike McCready), and Screaming Trees (Barret Martin)- waxed a gem of a slab that traversed ambient, jazz, blues, trad hard-rock, experimental and “grunge.”

Bassist John Baker Saunders, who cut his teeth with notable artists including Hubert Sumlin and The Walkabouts, nimbly works the pocket with inventive harmonic extensions and legato passages.

Intense, understated performances from all involved – it’s pity that half of Mad Season left this mortal coil way too soon….

Lifeless Dead” http://bit.ly/2tPMebm

“River of Deceit” https://youtu.be/StqioKCPqF8

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JIMMY ASHURST: Izzy Stradlin & The Ju Ju Hounds

Start to finish, this was the best album Guns ‘n’ Roses never recorded – save perhaps for Gilby Clarke’s Pawnshop Guitars (1994). The Gunners best songwriter fires on all cylinders with a collection that strips the pomp and circumstance of Use Your Illusion l & ll with songcraft and a laidback Stonesy vibe that would do Keef proud – note Ronnie Wood, Nicky Hopkins, and Ian McLagan’s individual appearances on three cuts.

Veteran bassist Jimmy Ashurst (Buckcherry) renders a fine chordal intro on the slab’s single / video “Shuffle It All,” and works the pocket with sparse grooves that leave space aplenty for Charlie Quintana’s fat back beat and Rick Richards (than name again!) riffage.

Buried in the grunge era, this is one of the great lost rock albums of the 1990s.

“Shuffle It All” https://youtu.be/TKBgbbFaF2U

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DUFF MCKAGAN Guns ‘n’ Roses “Pretty Tied Up”

“Cool ranch dressing!” Michael Andrew McKagan stands among the hard rock’s premiere bassists – and this track proves why. Controversial libretto aside, Duff’s mastery of melody and the pocket achieves perfection on this cut, abetted by a funky flange resonance. Had Axl had a handle on his ego, you pull the best tracks from solo Slash, Duff, Gilby, and Izzy slabs and they’d have had a career equal to the Stones. But…. GnR as a nostalgia act in the 21^st Century continues…yawn.

“Petty Tied Up” https://youtu.be/uOzA23ibxjU

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ROB RAWLINSON: Ian Hunter’s Overnight Angels

Whenever I mentioned Overnight Angels (1977) to Ian Hunter during our four or five interviews since 2000, the usual reaction was a groan, or a grimace, or a combination of thereof. Though it was an album out-of-time, out-of-touch, and somewhat out-of-tune thanks to producer Roy Thomas Baker’s misdirection, the songs and bass playing on Overnight Angels are, to my ears, rather astonishing. Rare is the player who can overplay – yet play to the song.

Yet that is exactly what Rob Rawlinson achieved on this collection, which, incidentally, was only available as an import in the United States upon its release.

Rawlinson, who went on to found Atomic Studios in London, also anchored sessions and gigs with Freddie Mercury, the Climax Blues Band, the Lloyd Langton Group, Rick Astley, and Alison Moyet, among others.

“Golden Opportunity” https://youtu.be/xOgI42s53uA

“Overnight Angels” https://youtu.be/HzYBO4Uw92o

“Wild and Free: https://youtu.be/KwFFEw5BtOo

“Miss Silver Dime” https://youtu.be/qzADr4fkbUQ

“Shallow Crystals” https://youtu.be/7stOZSXUFU4

“To Love a Woman” https://youtu.be/Hb4mTJnPFrQ

“Justice of the Peace” https://youtu.be/PjWzp2gb-yU

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MARTYN LENOBLE: “Dirty Sticky Floors” (Live) Dave Gahan

Veteran (Pornos For Pyros, Scott Weiland, The Cult) alt-rock anchor Martyn LeNoble (that’s Mr. Christina Applegate to you!) furtively works the fuzz on this Depeche Mode-minus magnum opus whilst a sustain pedal does the heavy lifting for his three-note bass break at 2:30. Yep, ‘twas a time when rock gods traversed the terrain…

“Dirty Sticky Floors” https://youtu.be/guB5PHcArLw

ADAM CLAYTON “Mysterious Ways” U2

Groove monster Adam Clayton works his dub bass magic on this 90s classic. What is it with bass players and their model mates?

“Mysterious Ways” https://youtu.be/TxcDTUMLQJI

LESLIE LANGSTON: “Devils Roof” Throwing Muses

Of all the bassists who served in Kristen Hersh’s corps (with / without Tanya Donelly) over the years, Leslie Lansgton was by far the most accomplished, incorporating funk and reggae influences beneath her bandleader’s mystically twisted libretto. An alt-rock collective way ahead of its time….

“Devils Roof” https://youtu.be/E9-Zqgxvogw

GAIL GREENWOOD “Geppetto” Belly

Rock critics who opined that grunge bass lacked finesse didn’t know what they were talking about…again…and again. Dig Gail’s grooves as each note melts into the next.

“Geppetto: https://youtu.be/gQlk8eKdIIA

Steve Boone (The Lovin’ Spoonful)

By Joe Gagliardo

He anchored one of the most accomplished, versatile, and influential ensembles in the history of rock and roll. Do you believe in magic?

Steve Boone was raised in household brimming with the sounds of music – most notably the classical works of Liszt and Chopin, along with Broadway musicals such as Annie Get Your Gun, and South Pacific.

Mesmerized by Buddy Holly’s singing style, and his unique rhythmic disposition, Steve decided to be a musician upon hearing Lubbock Texas legend’s seminal classic “Peggy Sue” on the radio.

Steve was also influenced by his guitarist brother Skip, six years his senior. Skip made it as far as recording a few demos at RCA with Chet Atkins and cutting an LP with the band Auto Salvage. Consequently, Skip had significant impact on Steve’s music career.

At sixteen while recovering from a serious auto accident, Steve began to play an acoustic guitar which his mom purchased for him – a Gibson LGO. Skip taught him a few chords, and Steve began playing along with the songs he was hearing on the faint, late night signal of WKBW radio in Buffalo, New York.

When Steve was a high school senior – Skip was working in a popular Westhampton, New York band – The Kingsmen. One of front men was drummer / singer Joe Butler – who also would play a major role in Steve’s career.

At Skip’s invitation, sometime in October 1962, Steve joined The Kingsmen on acoustic guitar for a few impromptu numbers and was invited become a full-fledged group member – which prompted Boone to get his hands on a 1957 Les Paul Goldtop.

Within weeks after joining, The Kingsmen’s bassist announced he was returning to Louisiana – and he suggested Steve as his replacement. After a few quick lessons from the outgoing bass player, Boone quickly realized that he enjoyed creating and rendering bass passages.

Steve also learned that the bass and the kick-drum are essentially “married” to each other and he developed a dynamic rhythmic rapport with Joe Butler.

Steve and Joe gigged together as a tight unit for two-years until the summer of ’64, when Boone decided to leave the band for an extended tour of Europe. Steve was in search of the Merseybeat / British Invasion sound which was garnering worldwide popularity by way of The Beatles, Dave Clark Five, and Gerry and The Pacemakers. He also planned to attend college following his sojourn overseas.

By the end of 1964 Skip and Joe Butler had moved to Greenwich Village and their band, The Sellouts, had a regular gig at one of Trudy Heller’s clubs.

During one of Steve’s visits to New York, Skip suggested that his kid brother bring along his bass. Despite his reluctance as he was planning to head off to school soon in January 1965, Steve did as his brother asked. When Steve arrived at Skip’s apartment, he was greeted by Joe Butler who asked if he was interested in putting his bass guitar to use with a few guys who were serious musicians. Steve made his way to
the Village Music Hall where he met John Sebastian and Zal Yanovsky.

John and Zal, who had briefly played with Cass Elliot in the Mugwumps, were seeking to assemble their own group – and all they needed was a rhythm section!

Sebastian grew up in a musical family; a guitarist and composer, he learned harmonica from his dad who was a virtuoso on the instrument. John explained to Steve that was writing songs that blended the traditional sounds of rhythm and blues records with folk style guitar.

The duo asked Steve to jam – and he pulled out his ice-box white Fender Precision bass. They jelled instantly. Having similar influences, the music came together – even in the absence of a drummer!

The night following their introductory jam, Steve went to the Night Owl Cafe to hear John play with some of his friends—Tim Hardin, Fred Neil, Buzzy Linhart, and Felix Pappalardi. By the end of their set, Steve was convinced that he wanted to be part of this scene. As he walked back to his brother’s apartment – all the reasons he had for returning to school and pursuing a proper career were disappearing under the dark sky above.

Steve, John and Zal had decided to move forward, and Steve would “delay” college and dedicate the next six months to getting the band off the ground.

During rehearsals the following week, John received a call from Bob Dylan, asking if he could play bass on a few songs he was recording. As Sebastian didn’t own a bass (nor did he drive) Steve loaded his bass (and John) into his car and headed off to Columbia Studios. As John’s parts weren’t working out, he suggested that Steve play bass. Boone’s work with Bob can be heard on Bringing It All Back Home.

The Lovin’ Spoonful – a name derived from a Mississippi John Hurt song – made their live debut in February 1965 at the Night Owl Café.

Enter Joe Butler once again, who replaced the original Spoonful drummer. Another change took place – at the suggestion of renown producer / bassist Felix Pappalardi: Steve traded his beloved P bass for a Guild Starfire II with custom electronics. With the line-up set, the band worked to tighten up its sound and bonded as friends.

The band cut a demo of “Do You Believe in Magic”- a classic song sans a chorus, and featuring Autoharp – which was rooted in rock – yet thoroughly indebted to the folk scene from which John and Zal were a product of. The demo was so good that Kama Sutra label pressed it and it became a smash hit!

Steve Boone Do You Believe In Magic_opt.jpg

From 1965-1968, the Spoonful enjoyed a terrific artistic and commercial run—seven Top 10 singles, three charting albums, including a Top 10 album. “Summer in the City” reached #1 on the Billboard Hot 100 in August1966 and remained there for three weeks.

Unlike many pop bands of their era, the Lovin’ Spoonful wrote and played on all their hits. In 2000 they were finally inducted into the Rock and Roll Hall of Fame.

In addition to his bass playing, Steve also had success as a composer, co-writing “You Didn’t Have To Be So Nice,” “Summer In The City,” and “Night Owl Blues.” Steve also wrote “Butchie’s Tune” which appeared in the film Blow Up as well as in the acclaimed TV series Mad Men. The bassist also penned “Full Measure” and “Forever,” which appeared on the final Spoonful album Everything Playing.

Boone utilized the Guild Starfire II on most of the Spoonful records save for Hums of the Lovin’ Spoonful and Everything Playing wherein Steve played a ‘61 dual concentric Fender Jazz bass – which was later stolen.

In 1973, after spending time living on a boat docked in St. Thomas, Steve moved Baltimore, where a female drummer he met while on the Islands was cutting a demo.

The recording studio featured a board equipped with parametric equalization on all the faders which was built by George Massenburg – which consequently opened the door to digital recording. The studio had fallen into disrepair when the owner left the country and Steve took it over, renaming the venue Blue Seas Recording Studios.

Among the notable albums and artists who recorded there included Little Feat (Feats Don’t Fail Me Now) Robert Palmer (Pressure Drop), along with tracks by Bonnie Raitt, Emmylou Harris, Verdine White, Sonny Terry, Joe Butler, John Sebastian and Ricky Scaggs, among others.

The Hunt Valley, Maryland studio was ultimately moved to a barge that was docked at Baltimore’s inner harbor. The studio abruptly came to an end in 1977 when the barge sank. At the time Steve was playing four nights a week with his band, Blanche, Ltd.

In 1981, Steve was playing music regularly in Baltimore with the Scott Cunningham Blues Band, doing occasional duets with John Sebastian, and sometimes, with Joe Butler, as a trio.

Steve moved to Florida in the late 1980s, taking a break from music until he was inspired by a Ft. Lauderdale pub band called The Irish Times – Steve co-produced their LP Live at Maguires Hill 16.

In 1990 promoters were itching for a Lovin’ Spoonful tour. Steve and Joe Butler decided to put a band together after John Sebastian and Zal declined a reunion of the four original members.

That band, with some personnel changes, has toured worldwide since 1991. Joe Butler has moved out front to sing, and the drums have been handled for the last twenty-five years, by Chicago born drummer Mike Arturi.

These days Steve no longer utilizes the Guild Starfire II though he did bring it out for the Rock and Roll Hall of Fame induction ceremonies. Steve’s go-to bass for the past thirteen years the Ibanez BTB. He loves the feel of the instrument and its resonance, though he advocates that tone comes from the player – from pressure on the fretboard to sustane, and of course, and deep notes tying in with the bass drum.

In 2014, Steve published a memoire entitled Hotter Than A Match Head Life on the Run with The Lovin’
Spoonful. The book not only spans the life and career of Steve Boone, it affords a life-lesson in rebounding after facing adversity multiple times, and also details how the Spoonful emerged in the era when folk music was not widely known, yet they achieved great success by combining that roots music with rock.

In February 2020, The Wild Honey Orchestra hosted an epic four-hour celebration of the music of The Lovin’ Spoonful as a fundraiser for the Autism Think Tank at The Alex Theatre in Glendale, California.

Steve, John Sebastian and Joe Butler participated in this event. The Orchestra included Elliot Easton (Cars),
Dennis Diken (The Smithereens), Dave Alvin (The Blasters), Susan Cowsill, Carnie Wilson (Wilson Phillips), Carla Olson (The Textones), Mickey Dolenz, Claudia Lennear, Peter Case, Marshall Crenshaw, Marti Jones, Don Dixon, and Bill Lloyd, along with many other guest performers.

Nowadays you can catch Steve and the Spoonful on tour, and listen to Steve’s weekly radio show which airs Mondays at 6 PM EDT, on www.flaglerbeachradio.com.

Watch, listen to Steve Boone:

“Do You Believe In Magic” and “You Didn’t Have to Be So Nice” from the Big TNT Show 1965 https://bit.ly/3d48EaL

“Only Pretty, What A Pity” https://bit.ly/2VSa9mu

“Summer In The City” https://bit.ly/3bWlIi1

“Night Owl Blues” https://youtu.be/11-YxOGJ6Bs

“Butchie’s Tune” https://youtu.be/BRTkqGSKTts

American Bandstand -Interview The Lovin’ Spoonful https://bit.ly/2WgEuua

“Revelation: Revolution ‘69” https://youtu.be/PlGVriLQyn8

Steve’s Hotter Than A Match Head Life on the Run with The Lovin’ Spoonful can be found at www.SteveBoone.net

CODA: A View of Steve Boone from “The Drum Throne”

Mike Arturi has forged a backbeat with Steve Boone for twenty-five years.

An accomplished drummer on the Chicago club circuit who has toured with such popular bands as Big Twist and the Mellow Fellows, Jade 50’s, Rick Saucedo, and radio personality Big John Howell, among others, Mike has been working 300 dates a year for close to twenty years! Aturi is an ardent student of the instrument, inspired and tutored by Petula Clark’s road drummer Shelly Elias, who was a legendary Chicago based percussionist, composer and educator.

In assessing his experience playing with Steve Boone, Mike describes Steve as a singularly unique bass player. “He anchors the songs, and his passing tones are beautiful—extremely melodic. He inspires me, and I play totally different because of him.”

Notes Mike, “as long as I have Steve in my monitor, with my snare and kick, that’s all I need.”

And according to Steve, Mike became a foundation upon which he could build his bass playing. “Mike is a drummer I could comfortably lock in with as a rhythm section… [we] have developed the best chemistry I have had with any drummer.”

Honorable Mention: When Mike in not drumming with the Spoonful, he is the Founder and Executive Director of the Universal Music Center (UMC), a non-profit music school located in Red Wing, Minnesota.

UMC is dedicated to enriching lives through music and live performance education, and is staffed with University trained educators who are also professional working musicians with national and international touring credentials.

UMC is proud of the fact that to-date, eleven students have gone on to become professional working musicians. Mike also devotes an extensive amount of time to working with underprivileged and at-risk students. In recognition of his contributions, Mike has been honored as a National Artist for the John F. Kennedy Center Turnaround Arts Program, and is a Teaching Artist for the St. Paul MN COMPASS Arts
Program.

Randy Jackson (Whitney Houston, Journey, American Idol, Keith Richards, Aretha Franklin)

Courtesy of Mark Bass Com

Yo! Check it out, dawg! I’m just keepin’ it real.”

Previous to his American Idol fame, Randall Darius Jackson was an in-demand, first-call LA session bassist and sideman.

Randy’s genre traversing career spans stage and studio work with Jean Luc-Ponty, Aretha Franklin, Bob Dylan, Journey, Whitney Houston, Herbie Hancock, Bruce Springsteen, Tracy Chapman, Mariah Carey, Stevie Nicks, George Michael, Billy Joel, George Benson, Michael Bolton, Mary J. Blige, and Billy Cobham to cite a select few.

A songwriter, Grammy Award winning producer, philanthropist, music industry executive, entrepreneur, author, radio host, educator, and recording artist – Randy Jackson’s place in the top echelon of master groove bass players and improvisers is absolute, despite the fact that most folks know him (only) as a TV personality!

Randy Jackson Sound & Vision…

Whitney Houston “I Wanna Dance with Somebody” https://youtu.be/eH3giaIzONA

Jean Luc-Ponty “Demagomania” https://youtu.be/CQ2_lAMJBnA

Bruce Springsteen: “Man’s Job” https://youtu.be/mdELzYFKS18

Journey “Girl Can’t Help It” https://youtu.be/h9TgWj2Kln4

Aretha Franklin / Keith Richards “Jumpin’ Jack Flash” https://youtu.be/RnbHRL_9nqc

Randy Jackson’s Music Club https://youtu.be/oDlJ_BgYlgY

Carl Radle (Eric Clapton, Joe Cocker, Leon Russell)

By Thomas Semioli

If you had to choose a role model of a classic rock bassist …look no further than this cat!

Huffington Post / Tom Semioli : Carl Radle: Eleven Bass Players Who Belong in the Rock and Roll Hall of Fame https://bit.ly/38WUMh2

He was the consummate sideman who came to prominence on seminal sides and concert performances with Derek & The Dominoes, George Harrison, Delaney & Bonnie, Eric Clapton, Leon Russel, and Joe Cocker. Bassist Carl Dean Radle’s motifs are so essential to the compositions that he waxed with those aforementioned rock icons; that if you were to play the songs without rendering his lines (near) verbatim – the tune sounds… wrong!

Born in Tulsa, Oklahoma, and migrating to Los Angles in the 1960s, Radle’s association with fellow Tulsan Leon Russell, then a prominent member of the Wrecking Crew, afforded Carl entry into the elite sessions circles.

Radle’s jaw-dropping resume also spans Gary Lewis & The Playboys, The Concert for Bangladesh (with Klaus Voorman), Dr. John, Dave Mason, J.J. Cale, Buddy Guy, Rita Coolidge, John Lee Hooker, King Curtis, Bobby Whitlock, Art Garfunkel, Donovan, and Bob Dylan, to cite a very select few.

Carl’s weapons of choice included a ’65 sunburst Fender Precision with a blocked and bound neck, ’68 blonde Fender Telecaster bass with a single coil Telecaster pickup and a split-coil Precision pickup, MusicMan Stingray, and a ’75 Alembic.

Radle’s fluid lines are a study in rhythm and space. His meld of staccato phrasing, sustained notes, and unadorned countermelodies sounds deceptively effortless – which further exemplifies Carl’s mastery.

Among Carl’s finest recordings include his work with drummer Jim Keltner as captured on Joe Cocker’s Mad Dogs & Englishmen (1970).

To my ears, Layla and Other Assorted Love Songs (1970) represents Carl’s most enduring recorded work and stands as a definitive example of the supportive role of the bass in a rock guitar-based setting.

Carl Radle Sound & Vision…

Derek and the Dominos

“Got to Get Better” https://youtu.be/ywdU0C2GH2o

“Bell Bottom Blues” https://youtu.be/FclW0go4Cfc

“I Looked Away” https://youtu.be/PMlmoLvRBNQ

“Anyday” https://youtu.be/QrWK5XWuGpk

Eric Clapton:

“Let It Rain” https://youtu.be/vFoheneUfU0

“Motherless Children” https://youtu.be/9EZlmqWmcqw

“Let It Grow” https://youtu.be/YpDlmop0uYU

Delaney & Bonnie & George & Eric “Comin’ Home” https://youtu.be/aazChqk4U-c

George Harrison “You” https://youtu.be/3xnTWee4eAI