Randy Meisner (the Eagles) was born on March 8, 1946, in Scottsbluff, Nebraska to a farming family. He got his first acoustic guitar when he was around 12 or 13 and, shortly after, formed a high school band. “We did pretty good, but we didn’t win anything,” according to Meisner. “We couldn’t find any work because there were a million bands out here,” he said. Meisner moved to California in 1964/65 and played with the likes of Rick Nelson’s Stone Canyon Band and Poco, before co-founding the Eagles in 1971 alongside Don Henley, Glenn Frey and Bernie Leadon.
They went on to define the country-tinged, laid-back West Coast pop-rock sound that ruled the US radio waves in the early 1970s, before later moving in a hard rock direction, essentially because of James Gang guitarist Joe Walsh being added to the line-up when Bernie Leadon left.
Once dubbed “the sweetest man in the music business” by former bandmate Don Felder, bass player Meisner stepped out of the shadows on the mournful, lovelorn waltz-time ballad Take It to the Limit – a song later covered by the likes of Etta James, Willie Nelson and Waylon Jennings. He was with the band when they recorded the albums “Eagles,” “Desperado,” “On the Border,” “One of These Nights” and “Hotel California.” “Hotel California,” with its mysterious, allegorical lyrics, became the band’s best-known recordings. It topped the Billboard Hot 100 in 1977 and won a Grammy Award for record of the year in 1978. Continue reading Randy Meisner – 7/2023
John Giblin was born on 26 February 1952, in Bellshill, a suburb of Glasgow in Scotland.
Little is known about John Giblin’s early years, but he must have picked up a guitar at an early age, considering how he became one of those musicians that gave rock and roll a foundation for others to shine on.
He worked as an acoustic and electric bass player spanning jazz, classical, rock, folk, and avant-garde music. Best known as a studio musician, recording film scores and contemporary music, Giblin also performed live and recorded with Peter Gabriel, John Martyn, Elkie Brooks, Annie Lennox, Manfred Mann’s Earth Band, Phil Collins, Empire with Peter Banks, Fish, rock/pop band Simple Minds,and has been closely associated with artists ranging from Kate Bush, Jon Anderson (Yes), to jazz fusion group Brand X, and with the avant-garde recordings by Scott Walker (including the album Tilt). Later in life, Giblin moved further into the direction of acoustic bass, with projects involving drummer Peter Erskine (of Weather Report), and pianist Alan Pasqua (of Tony Williams Lifetime).
To get a feel for John Giblin’s work with the top of the crop, check out his oeuvre on AllMusic
Following his death, Kate Bush released a statement, saying: ” I loved John so very much. He was one of my very dearest and closest friends for over forty years. We were always there for each other. He was very special. I loved working with him, not just because he was such an extraordinary musician but because he was always huge amounts of fun. We would often laugh so much that we had to just give in to it and sit and roar with laughter for a while. He loved to be pushed in a musical context, and it was really exciting to feel him cross that line and find incredibly gorgeous musical phrases that were only there for him. He would really sing. It was such a joy and an inspiration to see where he could take it. We’ve all lost a great man, an unmatchable musician and I’ve lost my very special friend. My world will never be the same again without him.”
Giblin died from sepsis on 14 May 2023, at the age of 71.
Micheal Rhodes 3/2023 (69) was born on September 16, 1953 in Monroe, Louisiana and taught himself to play the guitar by age 13 and the bass soon after. In the early 1970s, Rhodes moved to Austin, Texas, where he performed with local bands. Four years later, Rhodes moved to Memphis, Tennessee, where he performed with Charlie Rich’s son Alan. Honing his chops he became a sought after session and touring musician. In 1977, Rhodes moved to Nashville, and he joined local band The Nerve with Ricky Rector and Danny Rhodes. He worked as a demo musician for Tree Publishing Company, and then as a session player. Rhodes joined Rodney Crowell, Steuart Smith, Eddie Bayers, and Vince Santoro in the Cicadas. They recorded one album in 1997, but had been playing together for more than a decade. Rhodes was also a member of The Notorious Cherry Bombs, with Crowell, Bayers, Vince Gill, Hank DeVito, and Richard Bennett.
Rhodes has contributed to the recordings of numerous Nashville Royalty artists, including Neal McCoy, Chely Wright, Pat McLaughlin, Doug Stone, Wynonna Judd, Steve Winwood, the Dixie Chicks, Reba McEntire, Tanya Tucker, Hank Williams, Jr., Rosanne Cash, Vince Gill, J.J. Cale, Dolly Parton, Randy Travis, Faith Hill, Toby Keith, and Kenny Chesney.
And, while many of his recording credits involve country music, his work with Elton John, Larry Carlton, Peter Cetera, Mark Knopfler, Shawn Colvin, and Joe Bonnamassa prove that his talents on the bass transcended any single genre.
In 2013 he became an active sideman in recordings and touring of guitar virtuoso blues rocker Joe Bonamassa.
Besides session work, Michael Rhodes was a member of several local bands who play frequently in Nashville-area venues.
•The Fortunate Sons, with Gary Nicholson, Kenny Greenberg, Chad Cromwell, and Reese Winans.
•The Players, with Eddie Bayers (drums), John Hobbs (keyboards), Paul Franklin (steel guitar), and Brent Mason (guitar).They often perform with other artists, such as Vince Gill.
•The Vinyl Kings, playing original Beatles style music, with Jim Photoglo, Vince Melamed (keyboards), Larry Byrom (keyboards), Larry Lee (percussion), Josh Leo (guitar), and Harry Stinson (drums).
•TAR (Trapp, Abbott, and Rhodes), a power trio with Guthrie Trapp (guitar), and Pete Abbott (drums).
•The World Famous Headliners, led by Al Anderson, and featuring Shawn Camp, Pat McLaughlin, and Greg Morrow.
In 2016, Rhodes won the Bass Player of the Year Award by the Academy of Country Music and was inducted into the Musicians Hall of Fame and Museum in 2019.
Michael Rhodes died on March 4, 2023, at the age of 69 of pancreatic cancer in Nashville, Tennessee, U.S.
He skillfully integrates chord inversions, reaching for melodic lines that move from 3rd to 5th rather than root to root. His knack for sneaking in high fifth or dominant 7th chords is uncanny, as is the phrasing and placement of many of his fills. While his approach is often varied and surprising, it rarely catches the listener off guard, thereby enhancing instead of overplaying. He exudes the confidence of a master, the musical lexicon of a seasoned linguist, and the humility that comes from recognizing the power of a song.
Tim Bogert – (Vanilla Fudge) Born John Voorhis Bogert III on Aug. 27, 1944 in New York City, he grew up playing multiple instruments. When Tim was eight years old, he was already riding his bicycle to piano lessons. The piano lessons, however, were soon replaced by Little League. Music was in him, though and at thirteen, Little League was then replaced by a clarinet. Soon thereafter, Tim picked up the saxophone and played in his high school marching band. Time was living in New Jersey by now and he met a friend named Dale. They formed a band called The Belltones with Tim playing sax and made good money playing gigs around New Jersey at high school dances and VFW halls. This band evolved into The Chessmen.
The Chessmen were introduced by WADO disk jockey Allen Fredericks, who helped them get gigs backing up doowop groups such as The Shirelles, The Crest, The Earl, and The Doves. The Chessmen were now playing New York City. With the advent of surf music which didn’t have much sax, Tim Bogert then picked up the electric bass. After Tim left high school, he was in and out of a number of bands in the NYC area. In 1965, he went on a lounge tour of the Eastern Seaboard with Rick Martin and the Showmen, where he met Mark Stein, the keyboardist and vocalist. The two of them hit it off, and they soon left to join with drummer Joey Brennan and guitarist Vince Martell to form their own band, The Pigeons. After recording an album called “While the World was Eating”, they replaced drummer Joe Brennan with Carmine Appice and changed the name of the band to Vanilla Fudge.
“We had just gotten a recording contract from Atlantic Records, and the name Pigeons was taken, so in a couple of hours we had to think of a new name,” Bogert told For Bass Players Only in 2010. “Mark’s cousin’s nickname was ‘Vanilla Fudge’ — no, I don’t know why — and this name was picked and agreed to by everyone. It had nothing to do with blue-eyed soul!”
The band, known for fusing strains of psychedelia and proto-metal, mingled originals with cover songs on their early albums, including heavy takes on the Beatles’ “Ticket to Ride” and Curtis Mayfield’s “People Get Ready.” Their 1967 take on the Supremes’ “You Keep Me Hangin’ On” served as the soundtrack to the climatic scene of Quentin Tarantino’s 2019 movie Once Upon a Time in Hollywood.
The song that took them to the top was a cover of the Supremes, titled “You keep me hanging on. According to Mark Stein, he and Tim were “hanging out” one day in early 1967 when You Keep Me Hanging On by The Supremes came on the radio. They both agreed that the words were very soulful and that the song was too fast. Tim replies that they took the idea to slow it down back to Vince and Carmine. They performed it that night and refined the arrangement over the next few weeks and the rest is history. It was recorded in one take and that’s the version we’ve been listening to for fifty years! The album soared to number 3 on the national charts behind The Beatles and The Supremes. It stayed on the charts for over 200 weeks! The first notes Tim plays in the intro to this symphonic rock piece indicate his incredible speed and his unique ability take you on a “bass trip” while continuously doing what a bass player is supposed to do; holding down the bottom and completing the rhythm section. This was the emerging Tim Bogert style.
Tim recorded five albums with Vanilla Fudge between 1967 and 1969. As Vanilla Fudge matured, so did his style, on both the melodic and rhythmic sides. His “bass trips” became even more imaginative, utilizing more effects and greater speed, yet his rhythmic grooves were just as awesome. These techniques are prevalent on the Some Velvet Morning and Break Song cuts on the Near the Beginning album. Tim and drummer Carmine Appice became undoubtedly the tightest rhythm section in rock.
The quartet released five studio albums during their ’60s run, all of which cracked the top 40 of the Billboard 200: 1967’s gold-selling Vanilla Fudge, 1968’s The Beat Goes On and Renaissance; and 1969’s Near the Beginning and Rock & Roll.
Following the breakup of Vanilla Fudge in March of 1970, Tim went on with Carmine to form Cactus with guitarist Jim McCarty (Mitch Ryder and the Detroit Wheels), and vocalist Rusty Day(Ted Nugent and the Amboy Dukes). About the name says Tim, “Carmine and I were lying in the back of a limo on the way home from a gig in Arizona. We were talking about leaving the Fudge. We passed under a sign that read ‘ The Cactus Drive-In’ . It was the easiest band name we ever thought of. “
This high energy rockin’ blues band gave Tim the opportunity to further prove his ability to fill the gaps in what was essentially an instrumental trio, while maintaining his meaty, melodic style. After three studio albums, Jim McCarty left the band and was replaced by an unknown guitarist, Werner Friching, from Germany that they met in New York. Carmine once said that he and Tim had trouble with many guitarists because the two of them were “crazy musicians from New York” and were too high energy. Well, so much the loss for the guitar players! With the addition of keyboardist Duane Hitchings, from the original Buddy Miles Express and a new vocalist, Pete French, from Atomic Rooster, they recorded a fourth album ‘Ot ‘n Sweaty in 1972. This Cactus version, lasted only another seven months before breaking up completely.
The Bogert/Appice rhythm section then teamed up once again. This time with the legendary Jeff Beck. Beck, Bogert, and Appice was the new supergroup. Tim and Carmine had wanted to team up with Beck for a long time. Jeff had called them up to do a session with Stevie Wonder and were asked to join the Jeff Beck Group. They left Cactus and did a national tour with Beck.
Their rendition of Stevie Wonder’s Superstition was an instant hit. Vanilla Fudge harmonies, provided by Tim and Carmine, were evident in Lady. BBA’s live album from Japan, which was coincidentally only released in Japan and is now a collectors item, displayed the intense energy they became known for. Ray Manzerek of The Doors described BBA as “one of the great power trios of all time.”
Ultimately, Tim dissolved his partnership with Beck and moved from New York to Los Angeles.
“I did nothing for six months. Just rode my motorcycle. Then I teamed up with Steve Perry for two years.” Tim met Steve at a rehearsal studio and they put a band together called Pieces.”
After that, Tim went to England to do one session and wound up staying for three and a half years. While there, he joined a band with Chris Stainton called Boxer. They recorded one album and toured England. 1979 found Tim back in California mainly living the life of a freelance musician working local clubs on a casual basis and doing his share of studio dates with the likes of Rod Stewart on his “Foolish Behaviour” album and Bo Diddley on his “20th Anniversary of Rock ‘N’ Roll album.
“After that I went back to Europe to live in Italy for seven months to do session work and tour.” Upon his return to Los Angeles, Tim joined Bobby and the Midnights with Billy Cobham and Bob Weir. That took him on another tour of the U.S. for a year and a half. The following year, Tim toured nationally with Rick Derringer.
Bogert then joined Bobby and the Midnites, a side project formed by Bob Weir of the Grateful Dead. Though he toured with the group, Bogert left before their debut album was released, joining the U.K. group Boxer in 1977. In 1981, Bogert became a faculty member at the Musicians Institute in Los Angeles, but continued to record, releasing his second album, “Master’s Brew,” in 1983 and releasing “Mystery” with Vanilla Fudge in 1984.
Over the years, Bogert contributed to multiple projects and tours, including stints with Rick Derringer, Steve Perry, Rod Stewart and others. He also participated in reunions with Vanilla Fudge and Cactus, including the former band’s 2007 record, Out Through the In Door, and the latter group’s 2006 LP, Cactus V.
In 1999, Bogert was recognized by the Hollywood Rock Walk of Fame for his contributions to the genre. Bogert continued to tour with various groups until he retired. In August of 2005, Tim was involved in a serious motorcycle accident which left him unable to perform for a couple of years.
In August 2007, the all original Vanilla Fudge reunited again for a concert at Radio City Music Hall in New York City with Deep Purple, and continued to tour into 2008.
In 2009, resulting problems from the motorcycle accident forced Tim to reluctantly retire from touring. He was still doing session work locally in Simi Valley, California and over the Internet.
According to Bogert’s official biography, he “reluctantly” retired from touring in 2010 due to “resulting problems” from a motorcycle accident. He did, however, continue to do local session work. In 2020, Vanilla Fudge recorded “Stop In The Name Of Love”. At their invitation, Tim rejoined his buddies for this track, which would be his last recording as he was fighting cancer.
After a long battle with cancer Tim Bogert died on January 13, 2021.
“I loved Tim like a brother. He will be missed very much in my life. I will miss calling him, cracking jokes together, talking music, and remembering the great times we had together, and how we created kick-ass music together,” Carmine Appice wrote . “Perhaps the only good thing about knowing someone close to you is suffering a serious illness, is you have an opportunity to tell them that you love them, and why you love them. I did that, a lot. I was touched to hear it said back to me. Nothing was left unsaid between us and I’m grateful for that. I highly recommend it. Rest in peace, my partner. I love you. See you on the other side.”
January 16, 2017 – Steve Wright (Greg Kihn Band) was born in El Cerrito California in 1950.
Wright had played in a band called Traumatic Experience with El Cerrito residents John Cuniberti and Jimmy Thorsen.
After changing their name to Hades Blues Works (later, Hades) they expanded into a quartet with Craig Ferreira in 1970
In 1975 Greg Kihn had already signed to Berserkley Records and had a song included on the album Beserkley Chartbusters before entering the studio to record the debut album with a new band consisting of Wright, Robbie Dunbar and Larry Lynch – the Greg Kihn Band.
What followed was 20 years of recording and touring with several monster hits composed by Steve Wright and Greg Kihn. Continue reading Steve Wright 1/2017
February 17, 2012 – Michael Davis (68) – MC5 – was born June 5th 1943. Michael Davis (68) American bassist; he became the bassist for Detroit’s radical proto-punk band the MC5 in 1964. After dropping out of the fine arts program at Wayne State University, Davis became the bassist for the MC5 in 1964, replacing original bassist Pat Burrows when singer Rob Tyner and guitarist Wayne Kramer decided that they liked Davis’s style and wanted him in the band. He played on the band’s three original albums, including their debut Kick Out the Jams, and remained in the group until 1972. Their first album “Kick Out the Jams” was released in 1969 and became an international hit.
He stayed with them during their most challenging and incendiary period, and in later years appeared with a rebuilt version of the group called DKT/MC5, while also studying for a fine arts degree and promoting a music education program.
Before becoming embroiled in the MC5’s tumultuous hard-rock sound, Davis had been more inclined towards folk music. A native of Detroit, he was studying to be a painter at Wayne State University in the city in the early 1960s when he went to hear Bob Dylan play at the Masonic Temple.
“He was just playing guitar sitting on a stool all by himself, and it took hold of my life,” Davis recalled. “I decided that’s what I wanted to do – I wanted to be a musician.”
He met the future MC5 guitarist Wayne Kramer, then still in high school, and they played Beatles songs together. He also got to know the band’s vocalist, Rob Tyner, and when their bassist, Pat Burrows, quit, Davis was asked to take his place. At the same time Dennis Thompson came in on drums.
At this early stage the MC5 – short for Motor City 5 – were a covers band, blasting out versions of songs by the Rolling Stones, the Who, the Kinks and the Yardbirds, and Davis would recall this as his favorite period with them. “The sound was just raw and rough and exciting,” he said. “Later, when we were trying to be like jazz musicians … I really didn’t even like that stuff at all.”
Nonetheless, it was the radical, free-form elements that the group began to build into their music that secured their place in history, and they were encouraged to become increasingly radical, both musically and lyrically, by the DJ and jazz critic John Sinclair, who became the MC5’s manager in 1967 (though he was far too alternative to use the unhip term “manager”).
Kramer and co-guitarist Fred “Sonic” Smith were both heavily influenced by the free jazz effusions of Sun Ra, Archie Shepp and Pharoah Sanders, which Sinclair nurtured enthusiastically. He was also connected with radical political groups including the White Panthers and Fifth Estate, and headed the Trans Love Energies organisation, which aimed to promote “an assalt on the culture by any means necessary”.
In 1968, MC5 signed to Elektra, who realized that the band’s pulverizing live shows could not be bettered in the studio, and duly released the live album Kick Out the Jams (1969), recorded at Detroit’s Grande Ballroom. Bristling with classics such as the title track and the insurrectionary Motor City Is Burning, the disc charged into the Billboard Hot 100, but the Detroit-based department store chain Hudson’s refused to stock the album because of its obscene lyrics. The band responded by taking out newspaper ads saying “Fuck Hudson’s”, which prompted Elektra to end their contract.
Picked up by Atlantic, they made Back in the USA (1970) with producer Jon Landau, who later managed Bruce Springsteen. It was another powerful batch of songs, though Landau opted for a more conservative sound and the disc lacked the energy of its predecessor. It proved uncommercial too, reaching only 137 in the US. The following year, by which time the band had fallen out with Sinclair, they released their third and last album, High Time. Sales remained feeble, but the group were happy that this time they had had artistic control, which had given them some freedom to experiment.
In February 1972, Davis was ejected from the band during a British tour because of his drug use. As he described it, he was “put out of the car on the highway so that I had to find my way back home and start things over for myself”. The MC5 itself lasted only until its farewell gig at the Grande Ballroom on New Year’s Eve 1972.
Sometime in the mid-1970s, Davis spent time in Kentucky’s Lexington Federal Prison on a drug charge, where he was unexpectedly reunited with Wayne Kramer. Upon his release from prison, he joined the Ann Arbor-based art noise band Destroy All Monsters at the urging of friend Ron Asheton of The Stooges. Meanwhile Davis had returned to his first love, painting, when he was jailed and spent time studying art at several colleges in California and the American north-west. His painting White Panther/Big World adorned the sleeve of the 2009 album MC5: The Very Best of MC5, and in 2011 his work appeared in the Punk and Beyond exhibition at the Signal Gallery, London, among exhibits by numerous current and former punk rockers.
Davis spent seven years with Destroy All Monsters, penning the underground punk hits “Nobody Knows”, “Meet the Creeper”, “Little Boyfriend”, “Rocking The Cradle” and “Fast City” among others. The band recorded and released on Cherry Red Records, toured the U.K., and then broke up. Their music touched on elements of punk rock, psychedelic rock, heavy metal and noise rock with a heavy dose of performance art. They described their music as “anti-rock.” Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group in various reincarnations.
Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group’s music in 1994.
Davis also played with a number of bands, including Ascension with Smith, the LA-based Empty Set, and in the 1990s Rich Hopkins & the Luminarios and Blood Orange, based in Tucson, Arizona, where Davis had made his home.
In the spring of 2003, Davis reunited with fellow surviving MC5 members Wayne Kramer and Dennis Thompson to play a show at London’s 100 Club as part of a promotion for an MC5 inspired line of apparel for Levi Strauss Vintage Clothing. This spawned a 200 city world tour and a trip back into the studio to write new songs. Later he co-founded the group DKT-MC5 with former MC5 members Wayne Kramer on guitar and Dennis Thompson on drums, hence their band name.
In 2011, one of his paintings titled “Black To Comm Sk8r Boys” appeared as the cover art for the Easy Action Records multi-media audio/DVD release from the 2009 sold- out performance by British rock superstars Primal Scream and the reunited surviving members of the MC5 at the Royal Festival Hall.
Following a serious motorcycle crash on a Los Angeles freeway in May 2006, Davis along with his wife Angela Davis, launched a non-profit organization called Music Is Revolution Foundation, dedicated to supporting music education programs in public schools.
Michael Davis was 68 years old when he died on 17 February 2012 from liver failure.
August 4, 1993 – Randy Jo Hobbs was born on March 22nd 1948 in Winchester, Indiana.
Already fronting his own band the Coachmen at age 17, he soon joined brothers Rick (later known as Rick Derringer and Randy Zehringer, a Union City Indiana garage band called The McCoys (originally Rick and the Raiders) from 1965 to 1969 during which time their hit “Hang On Sloopy” became a global hit. The song sold some 6 million copies and was the McCoys entry in the big league, opening up for giant acts of the era like the Rolling Stones. When the song’s popularity ran out of steam, they became the house band for a popular New York hotspot called Steve Paul’s The Scene where they were introduced to Texas guitar God in the making Johnny Winter. Lacking more hits the band soon turned into backing guitar phenomenon Johnny Winter in the seventies.
As a band the McCoys called it quits in 1973 and Hobbs stayed a while longer with Johnny Winter but later played in brother Edgar Winter’s White Trash from until around 1976. White Trash was comprised of Southern musicians, one of which was another guitar giant, Ronnie Montrose. This led to Randy playing with a later version of Montrose, on the ‘Jump on It’ album, released in 1976.
Earlier Randy had played bass with Jimi Hendrix on some 1968 live sessions which were later released unofficially as Woke Up This Morning and Found Myself Dead in 1980 and New York Sessions in 1998, and officially as Bleeding Heart in 1994. At this time he unfortunately developed a huge heroin dependency that ultimately would cause his demise in 1993
In 1978 he also played bass on Rick Derringer’s album with Dick Glass, “Glass Derringer”.
Drug abuse took a toll on Randy Hobbs, and ultimately consumed his career as a musician. A front man can stumble out onto the stage and sleepwalk through the set, but an out-of-control side player is done for. Randy Hobbs was fired from Johnny Winter’s band and returned to Randolph County where he lived out his life.
Randy Jo Hobbs was found dead in a Dayton hotel room on August 5, 1993 – Rick Derringer’s birthday. The cause was heart failure. He was 45.
August 2, 1983 – James Lee Jamerson was born on January 29th 1936 in Edisto Island, near Charleston, South Carolina. In 1954 he moved with his mother to Detroit where he learned to play the double bass at Northwestern High School, and he soon began playing in Detroit area blues and jazz clubs.
Jamerson continued performing in Detroit clubs after graduating high school, and his increasingly solid reputation started providing him opportunities for sessions at various local recording studios. Starting in 1959, he found steady work at Berry Gordy’s Hitsville U.S.A. studio, home of the Motown record label. He played bass on Marv Johnson single “Come to Me”(1959), John Lee Hooker album ” Burnin’ “(1962) and The Reflections “(Just Like) Romeo and Juliet”(1964).
There he became a member of a core of studio musicians who informally called themselves The Funk Brothers. This small, close-knit group of musicians performed on the vast majority of Motown recordings during most of the 1960s. Jamerson’s earliest Motown sessions were performed on double bass, but in the early 1960s he switched to playing an electric Fender Precision Bass for the most part.
The Funk Brothers
Like Jamerson, most of the other Funk Brothers were jazz musicians who had been recruited by Gordy. For many years, they maintained a typical schedule of recording during the day at Motown’s small garage “Studio A” (which they nicknamed “the Snakepit”), then playing gigs in the jazz clubs at night. They also occasionally toured the U.S. with Motown artists. For most of their career, however, the Funk Brothers went uncredited on Motown singles and albums, and their pay was considerably less than the main artists or the label received.
Eventually, Jamerson was put on retainer with Motown for one thousand dollars a week, which afforded him and his ever-expanding family a comfortable lifestyle.
Jamerson’s discography at Motown reads as a catalog of soul hits of the 1960s and 1970s.
His work includes Motown hits such as, among hundreds of others, “You Can’t Hurry Love” by The Supremes, “My Girl” by The Temptations, “Shotgun” by Jr. Walker & the All Stars, “For Once in My Life,” “I Was Made To Love Her” by Stevie Wonder, “Going to a Go-Go” by The Miracles, “Dancing in the Street” by Martha and the Vandellas, “I Heard It Through the Grapevine” by Gladys Knight and the Pips, and later by Marvin Gaye, and most of the album What’s Going On by Marvin Gaye, “Reach Out I’ll Be There” and “Bernadette” by the Four Tops. According to fellow Funk Brothers in the 2002 documentary Standing in the Shadows of Motown, Gaye was desperate to have Jamerson play on “What’s Going On,” and went to several bars to find the bassist. When he did, he brought Jamerson to the studio, who then played the classic line while lying flat on his back. He is reported to have played on some 95% of Motown recordings between 1962 and 1968. He eventually performed on nearly 30 No. 1 pop hits—surpassing the record commonly attributed to The Beatles. On the R&B charts, nearly 70 of his performances went to the top.
Post Motown
Shortly after Motown moved their headquarters to Los Angeles, California in 1972, Jamerson moved there himself and found occasional studio work, but his relationship with Motown officially ended in 1973. He went on to perform on such 1970s hits as “Neither One Of Us” by Gladys Night & The Pips (1973), “Boogie Down” (Eddie Kendricks, 1974), “Boogie Fever” (The Sylvers, 1976), “You Don’t Have to Be a Star (To Be in My Show)” (Marilyn McCoo and Billy Davis, Jr., 1976), and “Heaven Must Have Sent You” (Bonnie Pointer, 1979). He also played on Robert Palmer’s 1975 solo album Pressure Drop, Dennis Cofey “Instant Coffey” (1974), “Wah Wah Watson”‘s Elementary album (1976),[14] Rhythm Heritage (1976), Al Wilson (1977), Eloise Laws (1977), Smokey Robinson (1978), Ben E. King (1978), Hubert Laws (1979), Tavares (1980), Joe Sample & David T. Walker (1981), and Bloodstone (1982).
But as other musicians went on to use high-tech amps, round-wound strings, and simpler, more repetitive bass lines incorporating new techniques like thumb slapping, Jamerson’s style fell out of favor with local producers and he found himself reluctant to try new things. By the 1980s he was unable to get any serious gigs working as a session musician.
Long troubled by alcoholism, Jamerson died of complications stemming from cirrhosis of the liver, heart failure and pneumonia on August 2, 1983, in Los Angeles at the age of 47.
Finally Recognition
• James Jamerson (as is the case with the other Funk Brothers) received little formal recognition for his lifetime contributions. It was not until 1971, when he was acknowledged as “the incomparable James Jamerson” on the sleeve of Marvin Gaye’s What’s Going On, that his name even showed up on a major Motown release.
• Jamerson was the subject of a 1989 book by Allan Slutsky (aka “Dr. Licks”) titled Standing in the Shadows of Motown. The book includes a biography of Jamerson, a few dozen transcriptions of his bass lines, and two CDs in which 26 internationally known professional bassists (such as Pino Palladino, John Entwistle, Will Lee, Chuck Rainey, and Geddy Lee) speak about Jamerson and play those transcriptions. Jamerson’s story was also featured in the subsequent 2002 documentary film of the same title.
• In 1999, Jamerson was awarded a bust at the Hollywood Guitar Center’s Rock Walk.
• In 2000, Jamerson was inducted into the Rock and Roll Hall of Fame, part of the first-ever group of “sidemen” to be so honored.
• In 2003, there was a two-day celebration entitled “Returned To The Source” which was hosted by The Charleston Jazz Initiative and Avery Research Center of The College of Charleston.
• In 2004, the Funk Brothers were honored with a Grammy Lifetime Achievement Award.
• In 2007, Jamerson along with the other Funk Brothers was inducted into the Musicians Hall of Fame in Memphis, Tennessee.
• In 2008, James Jamerson was awarded the Gullah/GeeChee Anointed Spirit Award.
• In 2009, Jamerson was inducted into the Fender Hall of Fame. Among the speakers was fellow legendary Motown session bassist and friend, Bob Babbitt.
• In 2009, Jamerson received a Resolution from the SC House of Representatives.
• In 2012, Jamerson received the Hartke, Zune, Samson 2012 International Bassist Award.
• In 2013, he along with the Funk Brothers received their Star on the Hollywood Walk of Fame.
• In 2014, Jamerson received a State Resolution from the South Carolina Senate.
Randy Meisner (the Eagles) was born on March 8, 1946, in Scottsbluff, Nebraska to a farming family. He got his first acoustic guitar when he was around 12 or 13 and, shortly after, formed a high school band. “We did pretty good, but we didn’t win anything,” according to Meisner.
January 16, 2017 – Steve Wright (Greg Kihn Band) was born in El Cerrito California in 1950.
February 17, 2012 – Michael Davis (68) – MC5 – was born June 5th 1943. Michael Davis (68) American bassist; he became the bassist for Detroit’s radical proto-punk band the MC5 in 1964. After dropping out of the fine arts program at Wayne State University, Davis became the bassist for the MC5 in 1964, replacing original bassist Pat Burrows when singer Rob Tyner and guitarist Wayne Kramer decided that they liked Davis’s style and wanted him in the band. He played on the band’s three original albums, including their debut Kick Out the Jams, and remained in the group until 1972. Their first album “Kick Out the Jams” was released in 1969 and became an international hit.
August 4, 1993 – Randy Jo Hobbs was born on March 22nd 1948 in Winchester, Indiana.
August 2, 1983 – James Lee Jamerson was born on January 29th 1936 in Edisto Island, near Charleston, South Carolina. In 1954 he moved with his mother to Detroit where he learned to play the double bass at Northwestern High School, and he soon began playing in Detroit area blues and jazz clubs.
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