Said Tony Visconti to this writer “Steve was one of the best bassists I’ve ever worked with…”
Though he is indeed a rock deity, the former Marc Feld also stood on the shoulders of producer Tony Visconti (a fine bass player), and his rhythm section comprised of drummer Bill Legend and the late bassist Steve Currie for his most enduring work under the T. Rex banner.
Currie, who possessed a plucky penchant for plying soulful passages, forged many a memorable groove on the album cuts as evidenced on “Mystic Lady,” “Till Dawn,” and “Ride My Wheels” to cite three.
Currie’s main weapon of choice was a maple neck Fender Precision.
Steve Currie Sound & Vision…
“Mystic Lady” https://youtu.be/T7XCzOdUoVk
“Till Dawn” https://youtu.be/SMm9lJ0-JLY
“Ride My Wheels” https://youtu.be/ARaI1XKE-vs
What a difference the bass player makes…
When William Martin Joel was allowed to bring his seasoned touring band into the recording studio – he waxed one of the best singer-songwriter sides of his generation The Stranger (1977)*, which was the first of a series of seminal slabs by the piano man.
The late Doug Stegmeyer embellished Billy’s hits and album tracks with tastefully executed grace notes, slaps, fretless glissandos, and nimble plectrum and finger picking – all rendered with a crisp bite in the service of the song. Doug came to the attention of Joel as a member of the band Topper, which also featured Liberty DeVitto and Russel Javors. His first tour with BJ was in support of the Streetlife Serenade album, waxed in 1974 which he did not appear on.
*Members of the “classic” Billy Joel band appeared on Turnstiles (1976) – which failed to reach a wide audience upon its initial release.
Rock journalist Stephen Thomas Erlewine noted in All Music Guide: “…no matter how much stylistic ground Joel covers, he’s kept on track by his backing group. He fought to have his touring band support him on Turnstiles, going to the lengths of firing his original producer, and it was clearly the right move, since they lend the album a cohesive feel. Turnstiles may not have been a hit, but it remains one of his most accomplished and satisfying records, clearly paving the way to his twin peaks of the late ’70s, The Stranger and 52nd Street…”
As pictured, Doug’s main weapon of choice was the Fender Telecaster bass.
Doug Stegmeyer / Huffington Post Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame https://bit.ly/38QIjf7
Bruce Springsteen came to his senses and ensured that the E Street Band got their props – albeit fifteen or so years too late. Now Billy Joel needs to own up to the responsibility. As I and millions of others were witness, the classic Billy Joel band line-up of saxophonist / keyboardist Richie Cannata, drummer Liberty DeVitto, guitarists Russell Javors and David Brown, and the late bassist Doug Stegmeyer were among the best live bands of their era. And they were magic in the recording studio.
In the absence of Stegmeyer and company, Billy made good records. With Doug and the boys, Billy waxed classic records. The Billy Joel band came of age in the 1970s – an incredibly fertile and diverse era. In those days, music artists competed and played on concert bills with everyone; spanning fusion powerhouses such as Return to Forever and Weather Report, to supergroups including Led Zeppelin; to groundbreaking roots artists such as Asleep at the Wheel and Townes Van Zandt; to prog rock masters Yes, Jethro Tull and King Crimson; to soul visionaries Stevie Wonder, Marvin Gaye; to reggae innovators Bob Marley; to politico punk rockers such as The Clash and Patti Smith; to singer songwriter pioneers such as Joni Mitchell, Bob Dylan, Laura Nyro, Carole King and Van Morrison; and whatever we can pin on Frank Zappa and The Mothers – to name a very select few. Before computers hypnotized the masses, ad agencies segregated listeners, and bands became “brands,” young audiences of my generation were attuned to musical excellence.
The classic line-up of the Billy Joel band exuded musical excellence and stood equal among these above referenced 1970s era artists. Go back and listen to their records, and their sizzling live set on The Stranger Deluxe Edition which fuses jazz, bar band rock, and Broadway. Doug Stegmeyer and his bandmates elevated the artistry of Billy Joel on stage and on record to greatness, and are long, long, overdue for their recognition in The Rock and Roll Hall of Fame in the Musical Excellence category.
Doug Stegmeyer Sound & Vision….
Doug groovin’ ‘n’ poppin’ with Billy on “The Stranger” at Carnegie Hall 1977 https://youtu.be/qdLPI6XhEN8
Tony Senatore’s renditions of Doug’s signature passages:
“Zanzibar” https://youtu.be/IqrmqhQ8Z0o
“Stiletto” https://youtu.be/wx0NKCzTuLs
“Movin’ Out” https://youtu.be/VBZBdX4y0dI
“Angry Young Man” https://youtu.be/s8A7CrWrWJI
“Rosalinda’s Eyes” https://youtu.be/ZtVhMfR9crc
“All You Want To Do Is Dance” https://youtu.be/PiOff5cxSic
“Sleeping with the Television On” https://youtu.be/_d6MIS8L_y0
Doug also shined as a session cat with Graham Parker (Another Grey Area /1982), Phoebe Snow, Bob James, and Karen Carpenter, among others.
Graham Parker:
“Temporary Beauty” https://youtu.be/Px8laM6lwzw
“No More Excuses” https://youtu.be/0VQkoRGqAWg
By Thomas Semioli
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
Rita Coolidge “Superstar” https://youtu.be/e4Xi1I78Kms
Leon Russell “Stranger in a Strange Land” live https://youtu.be/Hjy7RAu8TJ4
Joe Cocker’s Mad Dogs & Englishmen
“Delta Lady” https://youtu.be/uIz8n4fprxw
“Darling Be Home Soon” https://youtu.be/RCl-zznJ5so
“Space Captain” https://youtu.be/RCl-zznJ5so
Courtesy of Duck Dunn Remembered Com
“I listen to the first playback, then go back into the studio and play half of what I did!” Donald “Duck” Dunn
Along with James Jamerson Jr., Carol Kaye, and many of the Wrecking Crew players of the early 1960s, Duck established the electric bass as the bedrock of popular music by way of his work in Booker T. and the MG’s and as an in-demand A list studio player.
Dunn’s style is a master course in the use of rhythm and space. Play through his transcriptions and you discover not a superfluous fill, grace note, nor rapid-fire motif. Duck let the music breathe, and by doing so you can hear the song within his bass passages.
A player whose influence is incalculable, Duck’s legendary weapon of choice was the Fender Precision outfitted with heavy gauge LaBella’s akin to his peer Jamerson – which he amplified with various Ampeg rigs, most notably the B-15, again akin to the aforementioned Motown icon.
So what Donald “Duck” Dunn done? Booker T. & the MGs, Ray Charles, The Blues Brothers, Roy Buchanan, Eric Clapton, Bob Dylan, Isaac Hayes, Albert King, Ritchie Havens, Wilson Pickett, Otis Redding, Elvis Presley, Diana Ross, Muddy Waters, Bill Withers, Neil Young, The Manhattan Transfer, The Staples Singers, Boz Scaggs, Tom Petty, Stevie Nicks, Freddie King, Crosby Stills Nash & Young, Jerry Lee Lewis…to name a scant few.
Nick Rosaci’s transcription book Soul Fingers: The Music & Life of Legendary Bassist Donald “Duck” Dunn – is essential reading for all bassists who work in a pop, rhythm and blues, soul, funk, rock context.
Every track Duck cut is worthy of exploration – so rather than choose one of his more popular passages, dig this somewhat obscure Slowhand recording “The Shape You’re In” https://youtu.be/yFVXxxvkFiU
Tony Senatore’s Booker T. medley with some of Duck’s classic passages: https://youtu.be/6KdK2KyZlAg
Kenny Aaronson, Tom Semioli in the Duck Dunn shed!