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King Crimson Alum Trey Gunn Emerges As A 21St Century Renaissance Man: May 2022 Issue
Interview With Trey Gunn…
By David C. Gross and Tom Semioli
Composer, educator, Chapman Stick / Warr guitarist, recording artist, producer, podcast host, video host, entrepreneur, and jujitsu practitioner, Trey Gunn is most known to the masses for his tenure in King Crimson from 1994 through 2003. However, there’s more to Trey than his work with Robert Fripp! Gunn has authored scorebooks and helms a media company in Seattle: 7d, among other endeavors.
From classical piano to punk rock bass to the Chapman Stick to the Warr Guitar and beyond, Gunn continues to evolve.
Witness Trey Gunn’s career trajectory: he was a student of Robert Fripp and then he became a member of King Crimson. He’s collaborated with David Sylvain, Toyah (Mrs. Robert Fripp to you!), and John Paul Jones, to cite a select few Trey has fifteen solo albums under his name and hosts his own YouTube channel which is both instructional and anecdotal.
A maestro of the Chapman Stick and the Warr Guitar – which he plays in a horizontal position – Trey made his mark in the groundbreaking “double trio” incarnation of King Crimson with Tony Levin.
In the present tense, Gunn has embraced digital technology. And he’s maintained a remarkable career outside the mainstream via education and niche marketing by way of his aforementioned media company. Here are excerpts from our conversation…
DG: David C. Gross
TS: Tom Semioli
TG: Trey Gunn
DG: Trey, it’s been thirty years! (Note: David interviewed Trey for the now-defunct Bassics Magazine, which also boasted scribe Tom Semioli among their staff writers). How are you emerging from the COVID lockdown?
TG: Very well, thank you. I’ve been running my record label 7d Media, which is a serious DIY operation. For a little independent record label, we’ve put out numerous releases.
We like to think of ourselves as a ‘genre busting’ platform- as it says on our website. Our artists include myself, of course, and me with my King Crimson bandmate Pat Mastelotto, and other projects I am involved in. Our artists included Crystal Beth, Security Project, Stick Men, Inna Zhelannaya, Markus Reuter, Kwame Binea… it’s an amazing roster that your readers should check out.
I’m ‘coaching’ musicians, which is something I love to do. I’ve been working remote sessions which is fun and challenging. I’m also working on a longer-scale project – which is all on the Warr Guitar. It’s completely scripted, there is no improvisation. I’ve been approaching it akin to a string quartet or a chamber ensemble – only with Warr Guitars. Now I have to play it all, and it’s pretty damn hard!
TS: Why don’t composers write easy music for themselves?
DG: Exactly (laughter).
TS: Let’s discuss 7d Media, your record label. The question that David and I pose to all our guests: is it the best of times or the worst of times? The way we were raised in the ‘80s – if you wanted to put out a record, you had to get a record deal. And the argument in our era was that labels only signed artists that looked or sounded a certain way thanks to MTV. Or they simply followed trends and were beholden to marketing research surveys on what people liked. If it wasn’t for the fact that in the 1960s, record labels didn’t understand what young people wanted and took more chances– a band such as King Crimson would have never been signed.
TG: That’s true. And we used to complain about the old paradigm – which has been completely dismantled. The game has completely changed – no doubt. And musicians have to adapt and rethink their careers. There is no way of going backward…
DG: Now artists have the capability to go direct to the marketplace with their product and distribution. Are things better in the 21st Century?
TG: Well, it’s not too suck-y! (laughter). There are good and bad things obviously.
The good thing is that no one can stop you from putting out music. And the awesome thing about that is that artists can fully explore where their creative vision takes them.
This is opposed to being in an industry where the people in power would say they want to hear something new – but they really didn’t for the most part! With the old record company structure, artists were not allowed full creative leaps. Those creative leaps had to have been within the boundaries and parameters of their ‘known world.’ Which really is not a creative leap. And that hurt the careers of some artists, yet it also prolonged the careers of others as they did not go too far out.
Now on the downside – there’s too much music! There is so much supply that the art form has been devalued. And it’s overwhelming as a listener.
TS: Every musician with a computer is now their own recording studio, record label, and distributor.
TG: Yes!
However, think about it – when a band or an artist was signed to a label – regardless of if it was a major or an indie imprint– they were only allowed to release a certain amount of music. Let’s say an LP or CD every year or so, and a few singles, which is just the right amount of content for an audience to digest.
The other aspect was that if there was someone in the band that had a musical vision that did not quite fit that band, there was all this internal fighting about whether that music gets to go on the album. Now that musician has the technology to go off and do a solo project. If you have something you think is cool – you now have the platform to do it! You don’t have to smear it all over a King Crimson album (laughter).
Nowadays there is more freedom to explore. For example, I was coaching a client this week and he was running into a thing that we all kind of run into – and that is if you have a lot of various interests that if you put them all in the same pot – it kind of dilutes the entire presentation. And that can make it appear as if you don’t know what you are quite doing.
Now you can make a frame for each idea you have. You can create three band names and three Band Camp accounts! And you can release them all under different identities. You don’t have to say ‘all of this is Trey.” You can present a reggae thing, an abstract thing, a synth-pop thing… stuff that really does not t belong together. But now you can separate that out. In a sense, that gives bands the opportunity to really be what they are. Not everybody in the band is trying to get their own thing squished in there!
TS: As a label owner, you have to tip your hat to such individuals as John Hammond, Lou Adler, and Clive Davis… who were able to discover and nurture talent. They took plenty of chances, and not all of them paid off.
TG: Yes. I was hardly on a major label though. Other than King Crimson, and David Sylvain, who had a lot of leeway with Virgin Records. The important element of the old days of the recording industry is, as you said, ‘nurturing’ talent. Giving an artist seed money and having them go off and write for a year is a fantastic thing. And those people you mentioned worked for the artist because they were making an investment. They want to make their money back. It’s not a ‘grant.’ The artist would grow with the audience. I’ve never had that interaction with a label. And I feel a bit of a loss…a sadness.
TS: If you look at what is considered the mainstream and what is considered the ‘fringe’ – there is more “outside” music available to the masses because such artists can distribute their work on streaming and video platforms. Essentially the ‘underground’ is now surfacing.
TG: It is and it’s global. You see interesting things coming from Norway. I use this app that is a map of the globe – and you can spin it around and go into countries such as Afghanistan and pick radio stations and discover new stuff – it’s really fantastic. There’s a real cool electronic scene almost everywhere on the planet.
DG: The FBI is going to come after you!
TG: (Laughter)
TS: With 7d Media tell us how you choose which artists to sign and distribute.
TG: It’s a quirky unusual model. Basically, I had the framework built for myself and a couple of records I was involved with. Believe it or not, we have a hard copy distributor! It kind of grew out of that. However, I can’t afford to invest my money … it’s more of a ‘managerial curation.’ We manage the project. It’s for mid-career artists – people who understand how hard it is and don’t want to do the work of a traditional label.
We also have an artistic vision. If we feel that the artist and their music fit, then we work with them. We still make CDs, and people go into stores and buy them! True, there are not as many stores that sell music – but we find them. And we sell a little bit of vinyl as well. Though we try to talk people out of that because to ship a record to Europe is $52.00! We do it mostly because artists like to sell vinyl at shows.
Vinyl is cool, but man it’s heavy! We had a band called Sonar that did a record with David Torn – and they got Bill Laswell to remix it. I went to my PO Box to get the vinyl and I thought ‘oh, 500 records, no big deal…’ Holy S—t! It was ten heavy boxes. What have I done!!!
DG: Are younger musicians as artistically diversified as our generation or do you find that they are more homogenized?
TG: One experience comes to mind – it was when I was at SXSW about ten years ago. I was walking around listening to bands and thinking – wow, there are 1800 bands here and every single one of them is not just alternative rock – they are a particular ‘slice’ of alternative rock. And I found that so sad.
But I don’t think it’s like that anymore. I find there is a lot more diversity and curiosity. But it’s only a portion of what is put out there. Young musicians still want to be accepted and liked. And successful. And it’s hard not to think that – even if you’re not conscious of it ‘this is what people like – this is what gets a response – this is what I need to play.’
I’ll say this – players are amazing now. What they do with their skills is another story. The level of players that I see – even in derivative music – great bassists, keyboard players…that can blow you away with chops.
To answer your question – musicians are more diversified today – but with so much out there, it’s hard to recognize that.
TS: Players today have the advantage of YouTube! They can study the masters – they can learn hand positions, equipment, and technique at the click of a cursor. We had the advantage of Midnight Special, In Don Kirshner’s Rock Concert…
TG: And we couldn’t rewind it before videotapes were available. Yes, young players have much more tools today than we ever imagined.
DG: You’re an educator. You started out on a classical piano, learning theory and how to read. Is it necessary for a 21st Century musician to get a formal education?
TG: For me, that is the question of the age we live in. You don’t even have to say ‘music’ – you could say that about anything. Should you just start writing fiction or learn what verbs are first? What is the best method? To just look at videos and study how to waterski or just get on the skis?
I don’t know right now; I see both things working. You know, neither works on its own. If I were going to paint the ideal scenario I would say ‘get in the water and start swimming…’ Then when you get out of the water, ask somebody who knows about swimming to watch you – and get some tips. And then very carefully get back in the water again.
I think about this a lot because I practice jujitsu with some really high-level guys who know more than I do – and I learn a lot from being around them.
I practice this little Bach piece every day. It’s a violin sonata. You can’t get anywhere if you don’t get some of the notes together – and the shape of it going. Once you get the shape, then you need to make some decisions. Such as fingering decisions. And if you repeat it enough it starts to get comfortable. You no longer get confused or lost. Eventually, you tie it all together. Then it starts to sound pretty good.
But if you stop there, it doesn’t go very far. So what you have to do is go back in and be flexible. All those decisions, all the repetition, all the work you’ve done – you need to be prepared to undo it all at another level.
Then I find out that some of my fingerings are wrong. Or that I am playing it on the wrong string. But I programmed it in so well on this one string – and a lot of people will say ‘well, it’s good enough…’ And that’s fine. But you put a ceiling there. But if you want to go through that ceiling, you must be prepared to do even more. With new decisions… and that’s kind of the ‘educated’ part.
Getting back to your question – I would not learn to sightread immediately!
My mother was an English teacher. And for years she thought that boys should not learn to read until they were ten. She felt that if she could have taught them at that age when they had already listened and learned stories aurally – she was convinced that they could learn to read in about six months. And she could bring them up to speed – and even be better readers. I don’t know what that would be like, but I do know that my level of sightreading stood in the way of my ability to hear. It’s taken me a couple of decades to catch up. I depended too much on the written note…
DG: How do you apply that theory to your coaching clients?
TG: I get folks who are 50-ish or even their 40s who now have space in their life. These are people who left music behind for many years – or even decades – and now they want to get back in and get serious.
They figure ‘now it’s time to learn how to read music’ – and I respond ‘are you sure? Adrian Belew can’t read music! And he passed a Zappa audition!’ I’m not saying you shouldn’t – but let’s figure out what you want to do. And if you need to learn to read music – then absolutely! And if you don’t well…time is running out on us! You should get to what you want to do!
Notation is awesome. And you really need it to compose. Now, there are stories about how Mozart used to compose ‘in his head’ which we don’t know if they are true or not. Regardless, we’re not Mozart and we need help! That’s where notation comes in – it’s a communication tool. But again, for me it got in the way of learning to hear.
DG: Tell us about your King Crimson transcription books and how you navigated all the alternative tunings.
TG: With the first Crimson book (King Crimson: The Discipline Era Transcriptions) we were able to do the tunings that the players were actually using. We also did tabs.
When we did the Thrak book (Thrak by King Crimson: The Complete Scores) Robert was in his 5ths tuning. Then I am on one stick tuning and Tony (Levin) is in a different one. When you go back to the 80s for Discipline – everyone is in standard tuning. Except Tony does a funny little thing with the Stick on “Elephant Talk” – he tunes the top two notes to a tritone.
I put out another book prior to that of my stuff and we were trying to figure out what to do. Not too many people play my instrument – and a lot of the people that play my instrument do not use my tunings either – they use a standard tuning which is 5ths and 4ths. I use all 5ths. So the solution was to make two versions and I tabbed it out in 4ths and 5ths.
But I’m not gonna do that anymore, man that’s too much work! A lot of the time I had to guess – since I don’t play in 4ths and some things are really idiomatic as to how your hands fall in the 5ths. I had to come up with voicings that were pretty unpleasant! (Laughter) But hey, that’s how it goes with new tunings!
TS: It is interesting that you chose Beat, Three of a Perfect Pair, and Discipline because those are the albums that turned my generation on to King Crimson. We were a little too young to appreciate Court of the Crimson King when it came out. And then we worked backward. Every incarnation of King Crimson was potent – they all waxed amazing records.
TG: Oh yeah. I had a friend whose older brother played me the opening track from the first Crimson record when I was 13 and I didn’t know what was happening to me! For me, it was not easy to go back after hearing Discipline. I was most comfortable with Larks’ Tongues in Aspic (1973). I love that lean, sparkly percussive stuff.
By the way, we’re going to transcribe all of Crimson– we’re starting to work on the Wetton years.
DG: What does Mr. Fripp have to say about this?
TG: Robert is very happy that its being done. As soon as we finished the first one, I did all the tabs and we had three proofreaders, and we had many arguments about whether it should be in D# or Eb. When it came to the Discipline era the pitches were a lot clearer.
We tabbed all of Adrian’s solos. But nobody knows how those were really done. We looked at videos – but we had disagreements over what was an artificial harmonic, was it a synthesizer? and so forth. As soon as we finished it – we found a few mistakes – most are in the tab. So I wrote to Robert, Bill, and Tony – Adrian does not care – to review. But you can play all those parts now as they did.
It’s really a monumental thing to look inside and see what’s going on. I could not do that at the time. Even when we made the transcriptions, we discovered things that Tony was doing that we had no idea he was doing upper register of the Stick – especially on “Neal & Jack & Me.” My ears had just blended into guitar territory. Really fascinating…
TS: Tell us about studying with Robert Fripp.
TG: It was super unusual and super great! It was the mid-1980s, I was at college at a mid-level university – I wasn’t even allowed to play jazz guitar for credit! It was very conservative. And I thought ‘man if this was 300 years ago – I’d be writing to Bach. I’d have sent him a letter ‘dude I’m coming over for a lesson, can I make you tea and wash your socks for you?’ (Laughter)
So I made a list of all the musicians I wanted to study with -and I wrote to them. And this was before the internet and email. John McLaughlin, Peter Gabriel…. Eno. It was basically a wish list. As I reviewed the list, Robert kept coming to the top and I thought ‘this is someone who I could really learn from.’
Now that’s not to say I couldn’t learn from a David Bowie or Peter Gabriel, but I don’t think they could tell you what they were doing and why. It would be more of an osmosis thing. I thought it would be different with Robert. He could tell me some serious stuff. And I was right!
After studying with him I learned how to play with authenticity. How present can you be when you play a note? You see that with all great musicians. Like Pat Martino – he is just ‘with’ every note. He is conscious of everything he is doing.
And Robert put a lot of emphasis on that. Especially now that ‘chops’ are so widespread. You can’t get away from ‘chops!’
TS: During COVID lockdown Robert Fripp emerged as a comedic video star with his wife, the flamboyant famed singer recording artist Toyah. Who knew that he had such a sense of humor?
TG: Well, I did! It would trickle out here and there. But on those videos, he’s given free rein to go bananas. I played with Toyah, she is a prankster. She definitely eggs Robert on!
TS: After starting out on classical piano, you gravitated to the punk scene. Explain!
TG: It flowed very naturally! I left piano behind to play electric bass. That was probably David Bowie’s fault. I was inspired by Iggy Pop’s The Idiot (1977) and Lust for Life (1977). That pretty much corrupted me! There was a punk scene in South Texas where I was. I love those records and I have such a fondness for Iggy. He was my example of “I don’t even care if you like my record or not!”
TS: How and why did you move to the Warr Guitar?
TG: My first interest was the tuning of these instruments. I had this issue with the guitar that it wasn’t quite working for me because of the ‘blues’ thing that kept coming through. It just didn’t suit me as a guitarist.
Suddenly one day I had the idea that ‘maybe it’s the tuning…because that stuff just comes out of your hands.’ Then I remembered this Chapman Stick is tuned in 6ths and the violin is tuned in 5ths. And then I met Robert and he was using a guitar tuning in 5ths and as soon as I tried that on my guitar I knew I was right! Robert lent me his Stick and said ‘you should think about playing this thing.’ And I tried it and I thought ‘here it is- everything I’ve been trying to do, I’ve just been on the wrong instrument!’
So I played the Chapman Stick for a while then I met Mark Warr who made his namesake guitar which is kind of a cross between a swanky bass and a Chapman Stick. And I’ve been playing it ever since.
Now we have lots of young musicians and the Warr Guitar is the instrument they started on. And that’s pretty awesome.
DG: Bassists and guitarists who play their instrument vertically often encounter physical problems with their back, wrists, fingers…
TG: I now play the Warr Guitar horizontally on my lap. Every musical instrument destroys our bodies! I visited a chiropractor a couple of years ago and he took x-rays and he discovered that my left hip was six centimeters higher than my right hip. That was from standing on one foot and using pedals! And he said ‘we’re gonna fix that!’ What your wrists have to deal with on this instrument is awful. For every position you play in – the angle of the wrist is different. And you are applying all this tension on your wrists in the process. It’s brutal.
Then, I began experimenting with the instrument horizontally. With the last version of Crimson I was in, I used a fretless Warr Guitar. But I also wanted the fretted on. So, I placed the fretted instrument on a keyboard stand so I could grab some chords while I was playing the other instrument and I discovered it was easy to move back and forth. When I got home I started playing horizontally with the Warr. At first, it was scary because I had to rethink a lot of things.
I started out just playing on one string – the thing with tapping is you can’t really play a note unless you clear the string. The whole technique of ‘releasing’ is much more critical than the bass and guitar because your energy is coming from the right hand. In this horizontal way, your energy is all from the tap. It takes a lot of practice.
I’m working with the guys from a progressive – experimental duo called Buke and Gase – Arone Dyer and Aron Sanchez – and we’re building a horizontal instrument. It’s going to be a cool instrument. Since there is no ‘behind the neck’ – the neck could be as thick as we want – which you cannot do vertically. We’re going to make pretty extreme fanned frets. We have a lot of interesting options in this configuration. And of course, I’ll be making new music and new discoveries!
Visit online at treygunn.com
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Guy Pratt, Not Your Average Guy – May 2024 Issue
Guy Pratt, Not Your Average Guy – May 2024 Issue
For me, the bass is like this poor dutiful, loyal kind of wife. I go off and have my affairs and run about town, then I always come crawling back to her… Guy Pratt
By David C. Gross and Tom Semioli
Photo Courtesy – Cover Photo, Paul Mac Manus | Promo, Tarquin Gotch
Most rock and pop devotees know the individual names, likenesses, and other “intimate” details of their beloved ensembles.
Everyone has/had their favorite Beatle… darling Rolling Stone… preferred Led Zeppelin, their chosen who’s in the Who – etcetera.
And even in those instances, the enigmatic lead singer and swaggering lead guitarist garner the most consideration in the public eye. Aspiring drummers, keyboardists, and bassists will naturally gravitate to their said instrumentalists. Civilians could care less.
In the case of the singular artist, it’s all about the headliner, and quite frankly, that’s just how the nature of rock celebrity works. It’s the name on the ticket that counts.
On rare occasions, the second banana gets peeled: Mick Ronson spidering beside David Bowie, Steve Stevens rebel yelling in the service of Billy Idol, Scotty Moore twangin’ with Elvis Presley, and Steve Vai shredding alongside David Lee Roth, to cite a select small number. “Very few are chosen and even fewer still are called…” to quote Warren Zevon who piled his craft with guitarist Waddy Wachtel in tow.
Rarer still are the sideman/session bass players who somehow catch the slightest edge of any spotlight. Motown legend James Jamerson Jr. was not recognized until long after his passing by way of the 2002 Paul Justman documentary Standing In The Shadows of Motown which was a surprising box-office success and consequently spurred on similar films such as The Wrecking Crew (2008) Muscle Shoals (2013). Even then, these studio cats’ time in the sunset as soon as the film credits rolled.
Other bassists in the strictly accompaniment arena catch a notable wave by the nature of their unique contributions to international hit songs – witness Pino Palladino with Paul Young (“Every Time You Go Away”). Studio ace Will Lee (for whom David C. Gross oft subbed), gesticulating in proximity to charismatic bandleader Paul Shaffer, was visible to millions in his four decades with Late Night with David Letterman, and The Late Show with David Letterman. Rarified air indeed.
Which brings us to Guy Allen Pratt. Born in 1962 in a place called Lambeth London, Pratt came to the instrument in the funky 1970s when bass, thanks to improvements in audio and recording technology, could actually be heard on the radio and on hi-fi record players of the day. Rather than prattle on about Pratt’s formative years, we highly recommend his hysterical autobiography My Bass and Other Animals (2007) Orion books.
David and I love talking to our record collection on Notes From An Artist. Guy not only talks to his record recollection on his podcast Rockonteurs with co-host Gary Kemp of Spandau Ballet fame but he’s played with them! You (lovable) bastard!
Guy’s credits on stage and/or in the studio span David Gilmour, Roger Waters-less Pink Floyd, Roxy Music, Bryan Ferry, Madonna, Michael Jackson, Tom Jones, Iggy Pop, Icehouse (of which he was a band member), Kristy MacColl, Robert Palmer, Gary Moore, Debbie Harry, Johnny Marr, Robbie Robertson, Peter Cetera, Tears for Fears, David Coverdale- Jimmy Page, All Saints, The Orb, and Nick Mason’s Saucerful of Secrets, among others. Impressed, you should be!
If you’re a listener to Notes From An Artist and Rockonteurs – and you should be – you will immediately recognize the simpatico synergy between the two shows. David and I don’t have the piles of platinum discs that Guy and Gary have earned over the years, but we’ve been there and done that – the tours, sessions, the travel, the good deals, the mostly bad deals…
Hence our interview with Guy was not the typical linear podcast that one normally experiences with the obligatory introduction, tastefully imbedded product plug and follow-up, anecdotes, and farewell until we meet again.
Nope. Not even close. From the get-go, our discussion was enjoyably out of control. Akin to caged animals let free in the wilderness, the three of us came out chomping at the bit – with unbridled enthusiasm, one-upmanship, blotto bravado, and many joyful verbal collisions (“taking the piss” if you will).
Much like the popular Jerry Seinfeld TV series Comedians In Cars Getting Coffee – note that Guy also performs stand-up (or sit-down) comedy – we were chuffed to talk shop and then some sans the usual (and necessary) constraints of the radio/podcast format.
You have been warned. Here are excerpts from our free for all!
NFAA TOM: Let me introduce our audience member to Guy …
Pratt abruptly interrupts the prolog when he spots David’s custom Ken Bebensee six-string bass replete with a pinkish hue complimented by neon pink DR strings behind Gross at the onset of our Zoom chat.
GP: Whoa, what is that? It looks like some sort of psychedelic Ampeg bass!
NFAA DAVID: No! This is my six-string bass designed by a guy named Ken Bebensee with obligatory pink strings. You know, it takes a tough man to wear pink!
NFAA TOM: Non-binary strings?
GP: I don’t know that it does! Pink was a big 1950s color. Black and pink in particular. It was a big punk thing too. The Clash wore black and pink. Elvis wore black and pink.
NFAA TOM: Good observation Guy.
NFAA DAVID: The strings are great on stage because they glow under the lights which is very cool…
NFAA TOM: …much like the bass player.
GP: Tom..that’s a bass behind you as well (Pratt eyes Tom’s 1981 Steinberger XL – placed strategically to compliment David’s instrument)
NFAA TOM: Yes I set this out for our Johnny Marr interview …I know he’s a big fan of Steinberger instruments.
NFAA DAVID: It used to have a headstock…
GP: Johnny is definitely not a fan of those basses..
NFAA TOM: Yes I knew that factoid from reading your book My Bass and Other Animals. I’m using irony here…
GP: That’s why I bought ‘Betsy’ (“Betsy” is Guy’s nom de plume for his 1964 Fender Jazz Bass once owned by John Entwistle. Pratt purchased this instrument at the behest of The Smiths guitarist whose penchant for traditional instruments is well known. Marr felt the modish graphite Steinberger – which Pratt preferred – was not suitable for his post-Smiths aesthetic.)
NFAA TOM: You started Rockonteurs podcast with Gary Kemp during Covid lockdown, circa 2020, yes?
GP: This is the funny thing, we started it before Covid. The idea came to us being on the tour bus with the Saucers (Nick Mason’s Saucerful of Secrets band). I needed to while away the hours on our first European tour. In those days the buses still had DVD players. I brought along a box set of The Old Grey Whistle Test (a popular British television show which aired from 1971 -2018 featuring performances and interviews of music artists hosted by Bob Harris).
With Nick, I watched hours of 1970s rock TV. And Nick would be sharing all sorts of great personal stories about the people who were on the show. I had the idea of doing a show asking the people who were there – the artists. Before we could broadcast it we figured we’d get ten episodes together.
Gary and I went through our address books and we managed to get ten mates who agreed to be on the show. Back then, you had to go to a studio in London, you had to have a whole set up and everything like that. But then lockdown happened and suddenly the world went Zoom! You could have shit audio, and most important is that you could speak to anyone anywhere at any time. So we started before, but it was the lockdown that made us. How long have you guys been going?
NFAA TOM: David and I started off as The Bass Guitar Channel during lockdown three years ago (2020), and then we thought why the hell are we just talking to bass players?
NFAA DAVID: Boring old farts!
GP: Right!
NFAA TOM: We were mutual fans of each other’s websites – David has the Bass Guitar Channel, and I host the website and video series Know Your Bass Player. Of course, even under the banner of Notes From An Artist – we do favor bassists. Our guests include Bill Wyman who has been on the show twice, we’ve had Ron Carter on a few times. Rudy Sarzo (Ozzy Osbourne, Whitesnake, Quite Riot), Gerry McAvoy from Rory Gallagher, Benny Rietveld from Santana and Miles Davis, Jim Fielder from Blood Sweat & Tears, Harvey Brooks (Bob Dylan, Miles Davis)…
We’ve actually shared quite a few guests with Rockonteurs – Richard Thompson, Ian Anderson (Jethro Tull), Colin Blunstone (The Zombies), Steve Hackett (Genesis). David and I consider ourselves the American Rockonteurs – or Mockonteurs!
NFAA DAVID: You’ve played with Johnny Marr, David Coverdale, Nick Mason…
NFAA TOM: Many times, when David and I listen to podcasts hosted by non-musicians, we feel this angst, frustration, and even homicidal rage because the interviewers haven’t lived the life of a musician…I feel that we do which are peer-to-peer interviews, are very special.
NFAA DAVID: It’s very niche, but it can appeal to a broader audience.
GP: Yeah, yeah, yeah! It all depends on how you do it. Gary and I love to geek out. But this is the thing that I learned from years of doing my stand-up show, and that is you can’t appeal to just bass players. Half the guys have brought their missus. And they don’t want to be there. So you’ve got to do it in a way that makes sense for people who don’t really know or even care.
NFAA DAVID: One thing we learned very early on – it was the first time we had Ron Carter as a guest – we did not bring up Miles Davis. And you can understand that. He’s going strong in his 80s and five years of his life were with Miles. He’s done so many other things besides Miles…
GP: That’s hip, that’s cool! That’s seventy-five years’ worth!
NFAA DAVID: …so forty minutes into the interview… in his head, he must be going ‘no Miles? No Miles?’ We ended up getting Miles stories that no one had gotten before. Same thing with Bill Wyman. We didn’t mention the Rolling Stones once!
NFAA TOM: We read in your book how you made your bones as a bass player. Bernard Edwards noted, “That kid has a vibe!” Robert Palmer called you “the kid with the riffs!”
GP: Make that the kid with the ‘riff’ I just had one riff!
NFAA TOM: We’ve had some of your peers on the show such as bassists Lee Sklar (James Taylor, Jackson Brown, “The Section”), and Rudy Sarzo, and they never intended to be studio musicians – they preferred being in bands. What about you?
GP: It wasn’t really a proper profession. You got into rock and roll and you were in a band. It didn’t really exist. There were names you saw on Steely Dan records as part of some sort of unattainable Olympus. I wanted to play with people whose music I loved. And if I could help them make music, that would be even better.
I think I had it too easy for too long. Then I got to the wrong side of thirty and thought ‘What’s my manifesto?’ I’ve gone on and ticked off other boxes.
For me, the bass is like this poor dutiful loyal kind of wife, while I go off and have my affairs and run about town and then always come crawling back to her…
NFAA: Guy, you came to prominence in the 1980s – the decade dominated by electric bass!
GP: It was the best decade to be a bass player! Absolutely! In the world I was in – which was the current cool music of its time – everything from Bryan Ferry to Scritti Politti or whatever in British music – it was no longer about guitar. Guitar was small. Guitar played polite minor 7th chords – unless you were Johnny Marr. In fact – guitar was Johnny Marr!
It wasn’t David Gilmour or Jimmy Page. It was all about slapping. And also the bass seemed to be really responding well to technology. With instruments such as the Steinberger…
NFAA TOM: Your contemporaries were Pino Palladino, Paul Denman from Sadem, Norman Watt-Roy, Darryl Jones…Neil Jason
GP: Don’t forget Tony Levin!
NFAA TOM: Yes, you shared many a gig with Levin.
NFAA TOM: Talk about the influence of Mark King of Level 42 with his slap style on British players.
GP: Oh God yeah, he was a hero. There is footage on YouTube of my first production rehearsals with Pink Floyd when I first started playing with them in 1987. I have no idea how someone could sneak around with a camera back then – they were so huge. We were in a 747 airplane maintenance hanger at Toronto Airport – and you can hear Gary Wallace and me playing ‘Love Games.’ That’s what we did.
NFAA TOM: And you had to hold the bass high on the body – like a bow tie!
GP: Holding the bass that was a ‘New Romantic’ thing – which was done just to be as un-rock and roll as you could be. Literally holding the instrument under your chin…
When I look at that first Floyd tour – my bass is positioned a little higher than it is now.
NFAA TOM: Ergonomically – playing the bass too high is a problem – because you could tip over! Plus it’s a strain on your shoulders and upper arm. As we age, we develop pot bellies, so we need to lower the bass.
GP: It was quite funny with David (Gilmour) because he is much more svelte now… I would sneak to have a go on David’s guitar – I’d put it on and it would be down to my knees!
NFAA DAVID: On the topic of bass positioning – what I learned Billy Sheehan was to sit down with your instrument in your lap– get comfortable, then stand up and take a simple piece of leather and measure – and that’s your position!
GP: Brilliant! That’s way too grown-up and sensible!
NFAA DAVID: I could never understand Dee Dee Ramone playing with his bass near his ankles!
GP: But it looked fantastic! At the end of the day, are we musicians, or are we playing rock and roll?
NFAA TOM: There is actually an ergonomic reason why he did that. When you position your bass in the middle of your body – as most players do – you are using your forearm muscles. To play rapid eighth or sixteenth notes you need to use your wrist. Hence if you position the bass low beneath the hip – you work your wrist muscles.
GP: You’re absolutely right! Remember when the Boss Chorus came along and made everyone think they could play fretless? I am absolutely guilty of that! (Makes the sound of a chorus pedal) Rrrrrrrrr. Rrrrrrrr. Rrrrrr. Is that an E or an F? Who knows there’s a lot of chorus on it!
NFAA DAVID: It does not matter!
David C. Gross shows off his modified Tony Franklin fretless Fender bass aptly dubbed “The Franklin – Stein.” Gross had the instrument finished distressed, swapped out the Fender pick-ups for Lindy Fralin P-J configuration pups, and also replaced the Tony Franklin signature back plate. David notes that he shuts down the J bridge pick-up when playing the instrument. Gross notes that since he posted this bass on social media, Tony Franklin – a constant presence on Instagram and Facebook – has not spoken to him!
GP: I’m personally baffled by Precision fretless basses. To me, the Jazz seems to be the obvious fretless model because it needs a ‘bite’ with a pickup near the bridge. The person who would disagree with me is David Gilmour – who is a very fine fretless player. I think he used a Charvel fretless on ‘Hey You’ (Pink Floyd The Wall 1979).
NFAA DAVID: With me, it’s more comparable to my six-string as I prefer a big neck. Particularly a P neck with a C shape is the right one for me. Tony certainly got the neck right!
GP: For the Saucerful tours I play basses I’m not familiar with! The one thing I do with that band is try to be authentic. There’s no point in trying to copy those parts – in a lot of instances you can’t even hear them since they were mixed low on the original records most of the time. From ’67 to ’70 Roger played a Rickenbacker then in ’70 he switched to the Fender Precision. So I play Rickenbackers and Precisions which are not my first choice.
With the Precision I know it’s not the instrument – it’s me! Precisions are fabulous but it’s like certain Italian knitwear – I love it on other people!
As for the Rickenbacker – I just can’t really play it. But they make me play great for this gig because I kind of need to have one hand tied behind my back. And I have to play with a pick – so there’s no danger of me getting funky anywhere!
NFAA DAVID: I remember when Magical Mystery Tour (The Beatles, 1967) first came out. Those photos of Paul with a Rickenbacker looked great!
GP: Yes, it is a fantastic-looking instrument… but I never understood why it became a ‘prog rock’ bass with Chris Squire. Because it’s not a hi-fi-sounding instrument.
Getting back to Precisions – I think it all comes down to ‘What was the first bass you picked up!’ The first bass I played was a jazz-style instrument…
Pratt proceeds to jump out of his skin and show off the instrument that began his life’s journey ‘My dad gave it to me …it’s a Grant Japanese model– it was sunburst – I can never figure out why the black color followed the contour of the neck – then when I shaved it down I discovered it was plywood!’
GP: It’s that jazz profile which is all I’ve ever wanted… Then when I got Betsy – that his the most perfect profile neck I’ve ever come across.
NFAA TOM: And that’s the profile on your signature Betsy Bass available at The Bass Centre
Pratt hoists a Bass Center Betsy in his favorite hue – burgundy mist.
GP: It’s the best-selling bass they’ve ever had! I used this Bass Centre bass at a cancer charity gig the other week (November 2023) with Andy Taylor and Robert Plant. So how’s this for a ‘box tick’ – I’m one of the few people, apart from John Paul Jones to have played “Black Dog” with Jimmy Page, and Robert Plant!
NFAA TOM: The big I am! Let’s talk about Betsy – you added a Badass bridge…
GP: The Badass is an option… I use the cheap one! The secret to that bass is the EMG pickups. People don’t usually put EMG pickups into an old bass…it has the lovely, settled, resonant wood. Stick active EMGs into an old bass and…boom! It’s fantastic!
NFAA TOM: David, you can compliment the burgundy mist Betsy bass with your signature neon pink strings!
Pratt proudly displays the original Betsy bass guitar once owned by John Entwistle of The Who.
GP: Here’s the old girl!
NFAA TOM: Is that the “My Generation” bass?
GP: No, John never played this bass. Owning a bass that belonged to John Entwistle is like owning a pair of shoes that belonged to Imelda Marcos!
NFAA DAVID: John owned a very conceivable bass in several colors.
GP: The rumor I heard was that Fender made three full sets of Burgundy Mist guitars in 1964. And John owned the full set- a Precision, Jazz, Telecaster, Stratocaster, Jazz Master – he had everything. Which was priceless, but he had to sell them all in a hurry. So I purchased this bass through the legendary guitar tech Alan Rogan.
The conversation drifts on to the punk era which Pratt experienced as an impressionable teenager.
NFAA TOM: We didn’t get the Sex Pistols until late in their career and then of course, the band broke up in the USA following a show in Texas. That band must have had an impact on a young Guy Pratt.
GP: Oh totally! If you discovered rock and roll at that point like I did, it made an impact. But the stuff I loved were the bands that survived. I loved The Who – Pete stayed totally cool throughout punk – no one was going to touch Pete! Twelve years before punk, Pete was smashing guitars on stage. No one was ever going to do anything as punk rock as that!
I liked Bruce Springsteen who became great friends with Joe Strummer. There was this thing that there were five bands – they were these people who were rich and over thirty years old, which we couldn’t relate to as teenagers.
What was so brilliant about punk – and it’s the reason why the 1980s were so brilliant – was the ‘do it yourself’ aspect of punk. In England at the time the attitude was if you don’t like a band – start your own band. If you don’t like what is in the newspapers – start your own newspaper!
When The Buzzcocks heard about the Sex Pistols they booked them to play at the Lesser Free Trade Hall in Manchester. They played and there were about fourteen people at the show. And those fourteen people were Morrissey, Johnny Marr, Mick Hucknell, Tony Wilson, Steven Morris, Ian Curtis…basically the 1980s!
NFAA DAVID: I’m surprised that The Damned never broke in this country. They were another “fake” punk band that was brilliant.
GP: I know what you mean. They were like The Monkees of punk. And I say that as someone who adored The Monkees when I was a kid.
NFAA TOM: Talking about your history of session work… when we are in the studio oft times we are required to either read a lead sheet or a written out note-for-note chart. According to your book, Madonna asked up to create a bassline that made your (anatomy deleted) hard!
GP: She was terrifying!
NFAA TOM: In your book, you detail how you forgot that you played the iconic bassline to “Like A Prayer” which bolstered your career.
GP: Right! I had a vague recollection of that session. It’s weird because I remember all the other stuff. I was bloody scared! I know I’ve played with Pink Floyd at this point, and other major artists but I still have this terrible imposter syndrome. I’m basically a West London punk rocker, I shouldn’t really be doing any of this!
NFAA TOM: But you’re “the kid with the riffs!
GP: That’s “riff” again – singular! I only had one! I used it up a long time ago.
It was a band session, and the players were amazing; Jonathan Moffat (drums), Bruce Gaitsch (guitar)¸ Jai Winding (keyboards), Patrick Leonard (keyboards), Bill Bottrell (engineer) – incredible.
And Madonna was so good – she was so ‘on it.’ She sang a guide vocal. She’d give me notes – and they were proper notes. They weren’t like ‘Can you make it more purple?’ She gave me understandable musical things that she wanted me to do. Or not do.
“Like a Prayer” was just me, her, Pat and Bill. I don’t know why I was there. I was thinking because they have the synth on it – that’s all they’d need. There might not have been a plan to put a bass on it. I was in there to simply double some of the verse stuff. I was playing every fourth note or something.
At the end, it was one of those ‘let go nuts’ takes. ‘We’ve got the take we need, let’s just do one more for fun.’ I don’t remember it because I wasn’t taking it seriously. As if I could do that!
Sometime later she invited me down to the mix – I’d come back to California to do the Toy Matinee album and I went down to the studio and she said (in Pratt’s impeccable Madonna Ciccone voice appropriation) ‘Come and sit next to me!’
There was this last really loud play through and I was absolutely stunned. It is an amazing song. The hooks, the arrangement, everything! On that track, there is always something to keep you interested. On that song, you’re always thinking … What now, what now?’
Then the bass thing happened at the end. ‘That sounds like me but it obviously isn’t…’ because that’s way above my pay grade! Pino gets to do that! Tony Levin gets to do that. Mark King gets to do that.
Guy Pratt does not get to do that! Which is why I said to Madonna ‘That is the greatest record you’ve ever made… who played bass on it?’
(Pratt in Madonna mode) ‘You, dummy!!!!!’
NFAA DAVID: I think your Michael Jackson story is more bizarre.
GP: The funniest thing about that story is when I got the call to do it. It was a period of my life that was so insane. I’d done the Toy Matinee record, and I had to leave before the end of making it to fly back to Europe to do a Pink Floyd tour – we went to Moscow and did that amazing gig in Venice. Then I had to fly straight back to Los Angeles to start the Robbie Robertson album (1987). While I was doing Robbie’s album – I did other songs for Madonna such as “Hanky Panky.” One day in the studio I get a call from engineer Bill Bottrell.
“Hey Guy, what are you doing?” I responded ‘Well, I’m working with Robbie.’ Bottrell: “I want you to work on this Michael Jackson song…” I said ‘Okay.’ “Can you be here by six?” Pratt: ‘We don’t usually finish until 6… I’ll have to ask permission!’
So I went to Robbie ‘Listen, is there any chance I can go early tonight?’ Robertson: “Oh why?” Pratt: ‘I’ve been asked to do a Michael Jackson session!’ And Robbie blurted out “What am I supposed to say to that!”
Pratt to Bottrell: ‘Why me Bill?”
Bottrell: “Michael heard ‘Like A Prayer’ and he wants that!”
So I thought ‘Great, he obviously wants full balls-out Octave pedal madness!
I turned up at the studio and Michael had supposedly just left. And they play the track (Pratt sings) ‘What about sunlight…’ And I think to myself ‘Really!? What the hell am I supposed to do with this?’
Luckily Steve Ferrone came in. However was in the worst possible key – Ab! With an Octave pedal that is not good. As a rule, you don’t go below D. In fact, D is the optimum key. Now with modern technology, you can do anything, though I don’t like any of the new Octave pedals unless I’m doing a sub-swell.
For me, it was the Boss OC-2. Boss was actually talking about doing a Guy Pratt edition of the pedal.
NFAA DAVID: Take that Pino!
GP: Yeah! Look I nicked it from him – I make no bones about it. “Tear Your Playhouse Down” and “Give Blood” are the best examples of Pino with the OC -2.
NFAA TOM: When I first heard those tracks, I had no idea they were pedals.
GP: Right because at the time there was no internet. When I first heard “Tear Your Playhouse Down,” I thought ‘it sounds like a synth but it obviously isn’t… but how did I find out it was an Octave pedal? Who do I ask? I didn’t know Pino!’
Do I go up to people and (yell) ‘Tell me tell me’ and leave a trail of bodies all over London? But I did find out…
NFAA TOM: Guy as you are an album artist primarily, we ask all of our guests who work in that format the question “Is the album format still relevant in the age of streaming music?” What say you?
GP: No they are not. Albums were the length they were because Deutsche Grammophon worked out that it was the length of one movement of a symphony. Since that was the format, that’s what record players were made to. So we got used to the album format. Which then became this completely invented format where track listing was everything. From track one on side one, to track one on side two…what is the last track on side two?
Basically, it became a play in two acts. Then the compact disc came along, and that concept was gone. There is no end of side one…there is no end of side two…
Any sort of restriction that is imposed upon you – especially as an artist, is a good thing. That’s why plays are like plays, and films are like films.
It’s good to have these invented laws. Now, there is kind of no point! If you want an album to be 400 songs, it can. That’s why I find it interesting – that amongst a lot of the kids – their preferred format is the EP. Four songs. It’s not the tradition of ‘extended play.’ It’s four songs.
Back in the day, EPs were when artists argued about what was going to be the B side!
NFAA TOM: Or make an extra dollar off additional songs…
GP: Right.
NFAA TOM: Interesting that you mention the term “restriction” because David and I interviewed legendary bassist Jerry Jemmott and asked him that had Jaco Pastorius lived would he have moved on to the extended range bass – five-string, six-string. David and I were convinced that Jaco would have added more strings, yet Jemmott maintains that it is the restrictions of the four-string that made Jaco great.
GP: I don’t think Jaco would have played a six-string.
NFAA DAVID: When you play an extended range – five or six – and I know you’ve tried that – your left hand tends to move horizontally rather vertically.
GP: Yes, that’s what Jack Bruce said – and he preferred five-string. But when you think about it the top note on a Jazz bass…
NFAA DAVID: An Eb!
GP: Yes and it’s a note I actually use in a chord at the end of the song “Saucerful of Secrets” with Nick Mason. The point being, that note, why would you need anything higher than that on a bass guitar?
NFAA DAVID: Well, the idea to me was never doing the ‘diarrhea of the hands’ soloing. My brother-in-law was Ian MacDonald – and when he left Foreigner, we started a band. He bought me a Chapman Stick.
GP: Ah I was about to bring those up!
NFAA DAVID: I wanted to go low, not higher.
GP: Yes, I get that. But with Jaco’s facility, I don’t think he would have gone there. I don’t think Hendrix would have gone beyond the Fender Stratocaster. Look at David Gilmour. No one has done more to expand the horizons of what a guitar can sound like, but it’s still the black Strat.
To me, Jaco’s sound is still so space-aged, modern, and high-tech, and it was just him – what else was he going to do? He already had the future in his fingers!
NFAA DAVID: When it comes to Jaco – yes he was a great player, but it all comes down to his compositions. He was a brilliant composer. Just like Charles Mingus. A great bassist, no doubt. But when you think about Mingus, you think about his compositions.
“Three Views of a Secret,” “Portrait of Tracy,” who, outside of Percy Jones, would have thought of it?
NFAA TOM: According to Anthony Jackson, with whom David studied…the true bass guitar is a six-string. As we discussed this with another Anthony Jackson disciple, your colleague Dave Swift (Later…with Jools Holland). If you place the electric bass next to an electric guitar and an upright bass, clearly the electric bass is a member of the guitar family. Leo Fender, who focused on the marketing aspect of his business, made the bass four strings to appeal to upright players who were weary of hauling the cumbersome doghouse!
GP: I had a Fender six-string bass, but I thought of it more as a baritone guitar. Wasn’t it interesting in The Beatles Get Back film that they had one laying around the studio and that’s what John Lennon picks up to play bass tracks.
NFAA DAVID: Jack Bruce was playing a Fender six-string with Cream! How did he do it?
GP: Right! So let’s go back to the Chapman Stick – which was everywhere in the 1980s. Alphonso Johnson, Tony Levin…and I was thinking ‘Oh my God I’m going to have to learn this thing…’ So I nearly bought one. And I thought I just did those four years in my bedroom; I don’t know if I could go back and do them again. Because that’s what it would take. Then I realized – especially Tony – that he’s only playing two strings on it!
NFAA DAVID: That’s absolutely right! You know what made me decide to get rid of the Stick…aside from how many years it would take to master it? I didn’t want to stand up with the Goddamn thing stuck in my pants!
GP: Exactly! Years back Tony Levin told me that he transcribed Stravinsky’s “Firebird” for the Stick. And I thought ‘We’ll I was never gonna do that!’
NFAA TOM: What’s on Guy Pratt’s bucket list?
GP: The boxes keep getting ticked! There’s only one person I would really like to play with. But… it’s a total Catch-22.
I would love, love, love to do something with Peter Gabriel. But if I do something with Peter Gabriel, that means Tony Levin isn’t doing it – and I always wanted to be kind of… Tony Levin! So I guess I don’t want to play with Peter Gabriel…
More Bass Player interviews are available in an upcoming book: Good Question! Notes From An Artist Interviews… by David C. Gross & Tom Semioli www.NotesFromAnArtist.com
Bass Videos
Brian Bromberg, Paying Tribute to Scott LaFaro – April 2024
Brian Bromberg, Paying Tribute to Scott LaFaro, April 2024…
Brian Bromberg is one heavy-hitting bass player and I am in awe of his talent as one of the few individuals who is equally proficient on electric and upright bass.
You might remember our conversation back in 2018 when he released his powerhouse Funk album. Brian’s “A Little Driving Music” album is a staple on all our road trips and his Jaco and Jimi Hendrix tribute albums are mind-blowing… and I could go on and on.
Now, Brian has taken on the arduous task of producing an album paying tribute to the late, great, Scott LaFaro. He teamed up with pianist Tom Zink and drummer Charles Ruggiero and Brian delivers a commanding performance on upright. The entire album is a masterpiece and a real treat to listen to track after track.
Join us as Brian shares the details behind this project and more.
Photo, Michel Bocandé
Featured Videos
Visit Online
brianbromberg.net
FB @BrianBrombergBassist
YouTube
Cover
Leland Sklar, Over Half a Century of Bass, March 2024
We all have enjoyed Leland Sklar’s Bass lines for over half a century.
You might remember that we had him on our cover back in 2017 and did an update when he launched his book “Everybody Loves Me” in 2020. It was exciting to hear that The Immediate Family had got back together in the studio to work on their own music in 2019 and are now up to two albums.
Just last December, Magnolia Pictures released a documentary titled “Immediate Family” where we got a behind-the-scenes look at the massive contributions Danny Kortchmar, Waddy Wachtel, Ross Kunckle, Leland Sklar and Steve Postell have made in countless songs that are the very essence of our daily personal musical soundtracks. Seeing the astronomical roster of performers they have supported over many years is very eye-opening. It is a must-see for any music lover!
Now, I am thrilled to bring you a special chat with Leland Sklar where we go more in-depth into the bass side of his musical journey.
Photos: Header, Rob Shanahan – Cover Photo, Jay Gilbert/Chris Schmitt
Featured Videos:
Skin In the Game – https://www.youtube.com/watch?v=QhbnzIrdjJ8
from new album Skin In The Game
The Toughest Girl In Town – https://www.youtube.com/watch?v=UVQLZIRfLjU
from new album Skin In The Game
Fair Warning – https://www.youtube.com/watch?v=1DN18DYwLsU –
from the self-titled album The Immediate Family
Visit Online
www.immediatefamilyband.com/
www.facebook.com/TheImmedFamily
www.instagram.com/theimmedfamily/
Bass Videos
Ricky Phillips, STYX Bass And More – February 2024
Ricky Phillips, STYX Bass And More…
I have always been a huge Styx fan. Their music kept me awake during countless nights studying and gave my imagination a place to escape when I had a moment to take a break.
I had the immense opportunity to chat with STYX bassist Ricky Phillips for our August Cover in 2017 and follow his projects as time passed. Now, I am thrilled to have the opportunity to catch up with Ricky as he has been super-busy over the past six years.
Join me as we take a deep dive into the band’s most recent album “Crash the Crown” and EP “The Same Stardust”. Ricky shares some insights into the herculean team effort behind the scenes and the musical process that keeps them ever so busy and how he has updated his sound.
Without further ado… Here is Ricky Phillips!
Photo: Jason Powell
Featured Videos:
“Crash of the Crown” lyric video
“Reveries” lyric video
“Save Us From Ourselves” lyric video
“Sound the Alarm” lyric video
“Too Much Time On My Hands” Zoom video 2020
Visit online:
www.Styxworld.com
FB & IG @styxtheband
Bass Videos
Jeff Pilson, Foreigner Low End – January 2024
Jeff Pilson, Foreigner Low End – January 2024…
Those of us who were around back in the 70’s remember how certain songs on the radio resonated with us. It turns out that many of these iconic melodies came from Foreigner and they were part of our personal soundtracks!
After all these years, the band is going as strong as ever with Jeff Pilson firing away on bass midstream into a 2-year farewell tour.
I am excited to be able to bring you all the details about Jeff’s musical Journey, the farewell tour in progress, how he gets his sound and his plans for the future.
Cover Photo: Krishta Abruzziini / Video Photos: Krishta Abruzzini, Karsten Staiger, Gina Hyams
Featured Videos
For more news on FOREIGNER and upcoming Farewell Tour dates, fans can visit:
foreigneronline.com
facebook.com/Foreigner
twitter.com/ForeignerMusic
instagram.com/foreignerlive
youtube.com/user/FWebTeam
Also on FB @officialjeffpilson