Steve Currie (T. Rex)

Courtesy of Reprise Records Courtesy of Reprise Records

Courtesy of Reprise Records

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 

Dee Dee Ramone (The Ramones)

Courtesy of The Ramones Com Courtesy of The Ramones Com

Courtesy of The Ramones Com

“I’d like to congratulate myself and thank myself and give myself a big pat on the back.”

Greatest Rock and Roll Hall of Fame ceremony acceptance speech ever – by way of Douglas Glenn Colvin aka Dee Dee Ramone in 2002!

Though Dee Dee essentially rendered indistinguishable bass passages sans any significant semblance of harmonic or rhythmic variation throughout his entire career as a founding member and primary songwriter of The Ramones – he played exactly what was needed – serving the almighty song!

His execution and attitude anchored one of the greatest forces in the history of popular music, which continues to inspire generations long after his passing, and the passing of his band mates.

As I recall, the rock and the jazz police respectively were appalled by The Ramones nihilistic approach and feral aesthetic, which made them even more appealing.

Dee Dee’s technique necessitated his fashionably knee-level low hanging bass and right hand position as his the rapid fire 16th / 32nd notes necessitated the flexibly of his wrist rather than his rigid forearm – fact is, you can’t play that fast and that steady any other way! And he utilized only one weapon of choice – the mighty Fender Precision.

In the most hallowed tradition of their forefathers Berry, Penniman, Lewis, and Presley – Dee Dee and The Ramones’ body of work exudes the very essence of the art form that is rock ‘n’ roll: their eternally youthful vibrancy; their unabashed reverence for the past while pushing forward; their stark individuality; their instantly recognizable collective sound; their uncanny ability to threaten the status quo; and their enduring and expansive effects on pop culture represent just a few of the reasons why these revolutionary outcasts from Queens County Long Island New York will be relevant, and always sound fresh.

The Ramones in all their 1978 glory: https://youtu.be/-WgdD3F73CY

Courtesy of The Ramones Com Courtesy of The Ramones Com

Courtesy of The Ramones Com

Tiran Porter (Doobie Brothers)

Photo by Joe Peduto - courtesy of Doobie Brothers Com Photo by Joe Peduto - courtesy of Doobie Brothers Com

Photo by Joe Peduto – courtesy of Doobie Brothers Com

They are a quintessential American band whose excellence as songwriters, instrumentalists, and recording artists was so profound that their generation took The Doobie Brothers for granted!

From the time he hooked up with the San Jose collective in 1972 until he departed the band shortly before they split in 1980, Tiran Porter’s bass artistry was a staple on FM and AM radio.

An accomplished backing vocalist greatly inspired by Sir Paul, Tiran rendered a unique, funky plectrum plied attack coupled with a penchant for purveying melodic motifs which defined several rock standards including “China Grove,” “Listen to the Music,” “Long Train Runnin,” “Minute By Minute,” and “Takin’ It to the Streets” among others.

Tiran, who waxed a solo album in 1995 entitled Playing to an Empty House, is still on the bandstand in the Bay Area. His weapons of choice included Alembic, Fender, and Gibson.

Dig some of Tiran’s classic performances….

“Takin” It To the Streets” https://youtu.be/5o_umKOTXIs

“Long Train Runnin’ https://youtu.be/m4tJSn0QtME

“Listen to the Music” https://youtu.be/DkytJLoxGmQ

Dig Tony Senatore’s redition of “It Keeps You Runnin’” https://youtu.be/XZsWolQbxp4

Dig Tony Senatore’s rendition of “For Someone Special” https://youtu.be/4KMr3jqoImE

My guess is that most folks assumed that The Doobie Brothers were already in the Rock ‘n’ Roll Hall of Fame until the “powers that be” granted them honors in 2020!

Doug Stegmeyer (Billy Joel Band, Graham Parker )

 

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

 

Tom Hamilton (Aerosmith)

Photo courtesy of Aerosmith Com Photo courtesy of Aerosmith Com

Photo courtesy of Aerosmith Com

By Thomas Semioli

He anchors the almighty Demon of Screamin’ in what is arguably America’s greatest rock and roll band.

A chameleonic player, Thomas William Hamilton varies his tools and tone yet maintains his identity within the boundaries of the Aerosmith.

He works the pocket, he doubles the riffage, he renders countermelodies… and he’s done it all on Fender basses (Precision and Jazz), G & L, MusicMan Stingray, MusicMan Sabre, Hofner, Sadowsky, Parker…and probably a few I’ve missed.

His motif to “Sweet Emotion” is among the most recognized in the history of rock and roll: https://youtu.be/wwKwoU9cQ_o

Tom Hamilton 3_opt.jpg Tom Hamilton 3_opt.jpg

Tom has dozens of co-writing credits including the aforementioned “Sweet Emotion,” as well as “Janie’s Got a Gun, “Jaded,” “Critical Mass,” and “Sick as a Dog.”

On latter-day slabs Pump (1989), Get A Grip (1993), and Nine Lives (1997) Hamilton harbors a growling low B to further underpin the Tyler’s hoops ‘n’ hollers coupled with Joe Perry’s raucous riffage.

Tom Hamilton 2_opt.jpg Tom Hamilton 2_opt.jpg

On the band’s fifteenth studio effort Music From Another Dimension (2012) Tom takes the lead vocal for the first time on “Up on the Mountain.”

“Up On the Mountain” https://youtu.be/l4N8mo-WIVE

Among Tom’s signature passages is “Walk This Way.”

Here is Jack Douglas -from a KYBP social media thread – discusses how Hamilton achieved his sound on this track:  “Basic secret of Walk This Way bass sound was setting up the SVT EQ, using the right mics and combining it with the dir. Same with Sweet Emo except I doubled the bass line with a bass marimba, which Jay Messina played so tight you can’t hear it. The Flickenger Limiter with the 100 cycle pass through tightened up the whole sound and the massive amount of tubes in that monster added it’s own special sauce.”

“Walk This Way” https://youtu.be/4c8O2n1Gfto

Courtesy of Aerosmith Com Courtesy of Aerosmith Com

Courtesy of Aerosmith Com

Dig Tony Senatore’s rendition of “Mama Kin” https://youtu.be/ZcxWNoQv-Wg

Dig Tony Senatore’s rendition of “Walk This Way” https://youtu.be/-wArLSXyvRM

Dig Tony Senatore’s rendition of “Train’ Kept A Rollin’ from Get Your Wings https://youtu.be/L_ELvmvj2iU

Dig Steven Tyler flubbing a “Sweet Emotion” bass lesson with Tal Wilkenfeld! https://youtu.be/C2wUsLGYZ-w

tom hamilton 1_opt.jpg tom hamilton 1_opt.jpg

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

 

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

 

Duck Dunn (Booker T & The MG’s)

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!