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A Lesson in Carl Radle’s Style
Reader Submission: Rob Collier, May 2011… The Hand That Rocks the Radle
With bass virtuosos, session super-heroes, and low end innovators from Jamerson to Jaco getting most of our attention (and deservedly so), there will always be players who are overlooked and/or taken for granted. Though Carl Radle’s name was a frequent sight in album credits and musician polls in the 1970s—and he is generally considered one of the great sideman stalwarts of that era—his playing style is rarely discussed in print. Best known as Eric Clapton’s bass player throughout the ‘70s, Radle’s straightforward, supportive grooves made him a favorite of the likes of George Harrison, Leon Russell, Dave Mason, and Delaney Bramlett.
Radle had a no-nonsense style of playing that was utterly devoid of flash. He favored short, repetitive bass patterns steeped in gospel and rhythm & blues. At times he displayed McCartney-esque melodicism, creating lines that rivaled the song’s vocal melody for its catchiness. But first and foremost, Radle played to support the song. If that meant quarter-note roots for the entire song, that’s what Radle played, and he made it groove.
At the request of Leon Russell, Radle moved from his hometown of Tulsa to Los Angeles in the late 1960s. Russell introduced Radle to Delaney Bramlett, through whom Radle met Eric Clapton. With the rhythm section of Bramlett’s band, Clapton formed Derek & the Dominoes. Together they recorded the iconic Layla and Other Assorted Love Songs as well as being the backing band on George Harrison’s masterful debut All Things Must Pass. This period from 1969-1972 was Radle’s most prolific and will be the focus of this discussion.
“Keep On Growing” from the Layla album shows several important aspects of Radle’s style. His line on the chorus is a very simple and repetitive arpeggiation of an A-D chord progression (example 1).
Radle seldom makes any variations on this pattern. Even when the band vamps on this two-chord groove for the last two minutes of the song, Radle sticks to this line with a few extra ghost notes as his only embellishments.
The chord progression in the verse is also A-D, but here each chord is a full measure instead of a half-measure. Again, Radle sets up a one-measure groove and sticks to it, not even altering it when the chord changes.
Thus, the bass line acts as a sort of pedal point. The repetition of the line against the changing harmony creates a lot of tension which is (temporarily) released in the fourth bar with the G-D-A cadence.
During the bridge, Radle helps the song “open up” by playing longer phrases that move through the changes melodically.
The contrast between the moving line of the bridge and the short repetitive patterns in the rest of the song creates a large-scale tension/release that mirrors the tension/release that occurs every four measures within each verse.
Radle shows off his McCartney influence with one of his most melodic bass lines in “Bell Bottom Blues”, also from the Derek & the Dominoes record.
In the pre-chorus and chorus, he holds down the bottom end while providing a beautiful counter-melody to the vocal part. The B on the downbeat of the ninth bar of the example is an unexpected choice, but contributes to making this one of Radle’s most sing-able lines.
Joe Cocker’s Mad Dogs and Englishmen featured a who’s who of session players. When Leon Russell was put in charge of assembling the musicians, there was no question as to whom he would call for the bass chair. With an 11-piece band (not counting backing vocalists), Radle’s lines don’t cut through on the recording the way some of us would like, but you can always feel them moving. In “Sticks and Stones” Radle lays down a solid gospel/R&B groove. The accents on the “and” of 2 and 4 in the chorus really make this line move.
The chord progression in the chorus is moving back and forth between Bb and F (IV-I, a very common gospel progression). Here again, Radle varies his groove relatively little. He plays the same pattern for every Bb chord. On the F chord, he has two basic patterns that he alternates between. (Both are given.)
Carl Radle first connected with his future Dominos bandmates while playing with Delaney & Bonnie and Friends. Their live album, “On Tour with Eric Clapton” is the group’s most widely known, though arguably not their finest work. Still, the band is energetic and Radle’s playing is outstanding (not to mention crystal clear on the recording!). In “Coming Home,” Radle has two main patterns that he plays in the song—one during the guitar riff
…and one during the verses.
Each is a two-measure groove that he rarely embellishes. The syncopation in the middle of the groove on the verse keeps propelling the line to the next downbeat.
Radle went on to play on almost every Eric Clapton record in the 1970s. His premature death in 1980 at age 37 left a void in the bass community. Radle’s stripped-down, no-frills approach to playing is an in-your-face reminder of what a rock bass player’s primary goal should be: to make the song sound good.
Rob Collier earned his DMA in Composition at the University of Maryland and has taught theory and music technology courses at Chatham University, the University of Louisville, and the University of Maryland. He is currently an active bass player and bandleader in Pittsburgh, Pennsylvania.
Gear News
New Gear: Spector Doug Wimbish USA Custom Series Basses
Spector offers Doug Wimbish USA Custom Series basses…
Spector, a leading authority in bass guitar design, unveils two new Doug Wimbish USA Custom Series basses. Synonymous with bass excellence since 1987, Wimbish collaborated with Spector’s USA Custom Shop to create the DW-4 and DW-5 models, echoing the iconic instruments that have been favored heavily throughout his recording and performing career.
These signature basses faithfully replicate Wimbish’s originals, down to the smallest details like neck contours and nut widths. Customized EMG pickups, developed in collaboration with Wimbish, capture the distinctive sound that has shaped his monumental musical impact. These models invite players to explore the feel and response that have defined Wimbish’s signature style over the years.
Available in 4-string and 5-string versions, each model boasts unique features & finish options. The DW-4 comes in Amber Stain Gloss and Black Stain Gloss options, while the DW-5 offers Dark Blue Stain Gloss and Faded Natural Gloss. Every purchase includes a certificate of authenticity signed by Doug Wimbish. Wimbish comments, “Spector took the time to get every little nuance right, and that to me is dedication and being thoughtful enough to know ‘I want to nail it,’ and they did. I’m able to pick these instruments up for the first time and play them like I’ve already had them for years.”
For more information, visit spectorbass.com/doug-wimbish-usa-signature-series/.
Photo: Doug Wimbish, pictured with the new Spector Doug Wimbish USA Custom Series basses
Bass CDs
New Campaign: Alberto Rigoni, Nemesis Call – Queens Of Strings
Italian bass master and composer ALBERTO RIGONI is thrilled to announce his brand new project “Nemesis Call – Queens Of Strings”.
Nemesis Call – Queens Of Strings features a super talented drummer from Japan (TBA) and tons of female guitarists such as SAKI, Giusy Busetto, Alexandra Zerner (TBC) and many many others (TBA). Furthermore, Alberto has also launched a Fundraising Campaign for the project. 20% of the income will be donated to Lega del Filo d’Oro legadelfilodoro.it/it, an Italian association that helps deaf and blind children!
Alberto shares:
“Hello friends and music lovers! I’m Alberto Rigoni, an Italian composer and.. a BASS GUY! Between 2008 and 2024 I released 13 solo albums, spanning from progressive, rock, ambient to funky and experimental music, which also features contributions from musicians such as keyboard wizard Jordan Rudess (Dream Theater) drummer Gavin Harrison (Porcupine Tree) and Marco Minnemann (the Aristocrats), keyboardist Kevin Moore (ex Dream Theater), singer John Jeff Soto (ex Goran Edman (ex Y. Malmsteen), bassists Nathan East, Stu Hamm (Joe Satriani), Nik West (ex Prince) and many others. I’m also bass player for BAD As, Sunset Groove Society, Kim Bingham, The Italians bands and co-producer of Mistheria’s Vivaldi Metal Project.”
Alberto on the new project Nemesis Call:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, will be released on June 4th, 2024, when Vittoria came to life I felt the need to compose new music (yes, I really can’t stop!!!!!). This time will be quite challenging because I’m willing to release an instrumental ambient/prog/rock/metal album, that will feature a talented and young drummer (TBA) and tons of female guitarists (that’s why I will call the album “Queens of the Strings”) such as Alexandra Zerner, YOKA and many others (TBA/TBC)). It won’t be easy to manage all such great musicians but I will make it!! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025.”
The Fundraising Campaign:
As an independent artist, Alberto is looking for supporters who can help him reach the budget for the production (recordings, mix, mastering, artwork etc.) of this new album and has started this fundraising campaign that will end successfully on October 15th, 2024.
Get further information about Alberto Rigoni’s new project Nemesis Call Fundraising campaign at albertorigoni.net/nemesiscal
Bass Videos
Artist Update With Bassist Derek Frank
Bassist Derek Frank…
Many of you will remember the last time I chatted with Derek Frank was back in 2017. The main thing that impressed me was how busy Derek was and how he juggled playing with many huge acts.
Now, I am happy to hear that Derek launched a new album last March titled “Origin Story” where he digs deep into his roots and pays homage to Pittsburg.
Join me as we get caught up after all these years and hear the details about the new album, how Derek gets his sound, and his plans for the future.
Photo, Stephen Bradley
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Gear News
New Gear: Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Internationally renowned bassist ALBERTO RIGONI (soloist, BAD AS, Vivaldi Metal Project, TwinSpirits, etc.) is proud to announce the release of his signature bass VPR5 made by renowned Italian luthier Gaetano Costanzo!
The bass is entirely handmade in Italy, without the use of CNC or other machinery, and has rather special features. The VPR is a 5-string bass (but also available as a 4-string) with 30 frets, Seymour Duncan pickups, Music Man Alnico style, passive electronics (volume, tone and a switch to select series/parallel/single-coil mode), alder body, and American maple neck and fingerboard. Gotoh tuners that ensure perfect intonation. The bass is totally painted white (nitro finish) but other colors can be requested. The VPR has a weight of about 2.9 kg and suitable for any genre.
For more information contact Gaetanobass77@gmail.com or visit online at www.instagram.com/gaetanocostanzoluthier or www.facebook.com/GaetanoCostanzoLuthier
New Gear: Spector Doug Wimbish USA Custom Series Basses
Artist Update With Bassist Derek Frank
String Instrument Humidifiers
Interview With Bassist Graham Stanush
Review: CrystalBright Rombo Picks
This Week’s Top 10 Basses on Instagram
Artist Update With Bassist Derek Frank
String Instrument Humidifiers
New Gear: Spector Doug Wimbish USA Custom Series Basses
