Читать книгу Where’s My Guitar?: An Inside Story of British Rock and Roll - Bernie Marsden - Страница 6
ОглавлениеPat Cash, tennis champion
‘There wouldn’t be many guitar fans who haven’t heard a Bernie Marsden riff somewhere along the road. That goes for anyone alive in the ’80s and early ’90s, guitar fan or not. My first awareness of Bernie was during the glory years of Whitesnake while I was travelling the world making a career in tennis. Great album after great album, catchy riffs with melodic yet rocking solos. It was post-Whitesnake that I discovered the Marsden voice in its full extent, his most recent blues albums showing those talents. As a Rory Gallagher fan his Bernie Plays Rory album was more than a worthy tribute – a pure joy. No wonder he is applauded throughout the blues and rock world as one of the iconic musicians of his generation.’
Dónal Gallagher, brother of Rory
‘Rory’s admiration for Bernie as both a musician and as a person was huge and I share my late brother’s sentiments. Actions speak louder than words – Bernie was the first guitarist allowed to perform with Rory’s Stratocaster after his passing. In addition to his own great abilities, Bernie carries the torch!’
Steve Lukather, Toto
‘Bernie is part of the legendary wave of British blues-rock players I heard that had it all. His soul, chops and sound resonated with me. He is also a first-class gentleman and when he came to meet me and see me the first time Toto played in London in the very early ’80s he brought Jeff Beck and Gary Moore. Like I wasn’t intimidated enough by him … ha, ha! This started a lifelong friendship. Bernie is one of the best in every way and I am honoured to call him my friend – and he is one badass guitar player!’
Ian Paice, Deep Purple
‘Bernie is one of those rare musicians who can play whatever is required of him. Rock, blues, pop, you name it and he will do it, and do it very well! A talent in itself. But the other string to his bow is his writing. Back in the Whitesnake days it was obvious that without those songs, the band would have found it much harder to break through and enjoy the success it achieved. Those songs started out from Bernie’s imagination. No Bernie – no songs.’
Paul Jones, musician and broadcaster
‘I think the first time I played with Bernie was when he sat in with the Blues Band at a gig in Swindon, and I thought, Wow – this heavy metal guy can really play the blues! As time went on, I discovered that the blues (and soul) have informed all his work. The other thing I admire about Bernie is his humility. I’ve seen it on many occasions – not least the times when he’s contributed to my charity gigs at Cranleigh Arts Centre.’
Warren Haynes, the Allman Brothers Band
‘I first met Bernie in 1991 when the Allman Brothers came to Europe. There was a benefit at the Hard Rock in London and a bunch of us went and wound up jamming. I heard Bernie play and not only did he play great but he had the best sounding rig of anyone on stage. When it came time for us to play I asked him if I could play through his gear, saying something like, “You’ve got the only good-sounding rig on stage.” He laughed and obliged. We became instant friends and have played together numerous times since. I really love his economy of notes and the fact that the most important thing to him is to get a good sound first (which he seems to be able to do with any setup) and then take it from there.’
Zak Starkey, The Who
‘If I had never met Bernie Marsden I would never have spent three years sitting on his garden furniture in the back of a transit crying with laughter and playing the real blues all over the UK, Europe, Northampton and JBs Dudley.
There is Whitesnake, yes, but let’s not forget Bernie’s great pop sensibility in his work with Mickie Most in the ’70s. Bernie is a dear friend for life who never actually paid me but taught me so much about playing with empathy, sincerity, emotion, and fucking huge balls that I owe him at least forty quid.
We bonded over Freddie King, who I was lucky enough to see play once. Bernie has Freddie King’s shoes and he’s getting ready to dust his broom in the palace of the king. A perfect hideaway to stumble into while steppin’ out, walkin’ by himself and … sorry I digress as usual – here I go again.’
Elkie Brooks, singer
‘Having always been a huge fan of blues music and its various transitions throughout the years, there is nothing better than to hear it played with style and integrity. Bernie Marsden has both in abundance.
We did not work together until 2002 when I was appearing at the Maryport Blues Festival, Cumbria. Bernie was on the bill with his own band that night and I asked him if he would like to get up and do a few numbers with my band later. It was a special night and the atmosphere in the marquee was electric. Bernie added his own dynamic to our sound and it was a great gig. A few years later I called up Bernie and asked if he would possibly come on the road with us for a few months … so off we went! He was such a marvellous addition and a real pleasure to play with.
Among the stunning array of songs Bernie has written, I really fell in love with “A Place in my Heart”. A real testament to a true talent.’
Bob Harris, broadcaster
‘We first met in 1970, just before I joined Radio 1. I was a DJ at the Country Club, a very cool north London rock venue where Bernie appeared with Skinny Cat. Even now I can remember Bernie’s playing – “just like a ringing a bell”, as Chuck Berry would say. He was a fabulously expressive, economical guitarist. At a time when speed seemed to be of the essence, Bernie’s style was relatively understated but beautifully constructed, already demonstrating his intuitive knowledge of what spaces to fill and how much space to leave. It’s a rare gift.
Since then, as we know, he has enjoyed massive success as a player, writer, Hollywood film score composer and a member of one of the biggest bands in the world but despite all the head-turning fame, he has always kept his feet on the ground.
Recently, Bernie joined me in my home studio to play an acoustic session for my TeamRock show, Bob Harris Rocks, a full-circle moment. He has deep respect for and amazing knowledge of the players who helped influence his style and who laid the foundations of so much of the music we’ve loved and supported these past forty-six years.
It feels good to have known Bernie all this time and to have shared many great moments. They all really mean a lot. I have massive respect for him as a superb musician but even more than that, I cherish him as a friend.’
Jack Bruce, Cream
‘When I saw Bernie leaving Abbey Road Studios as I arrived, I said to him, “Turn around, man, you’re playing on my new album!” This was the best move I ever made. Bernie’s delicacy of touch hides the great power of his playing. He has that amazing quality of making every note sound like the only possible note that could be played – and that’s before you consider the depth of his sound. He is simply fantastic.’
BB King
Email from Juergen Hoelzle of FRS Radio Stuttgart: ‘In 1996 I had the pleasure of interviewing BB King for my radio show. We talked of many things, I don’t need to give you a breakdown. Well, except one thing, which it has occurred to me that you might not be even aware of. Near the end I asked, “Can white men feel and sing the blues?”
His answer surprised more than a few people and the room was buzzing when he said, “Most of them don’t ’cos they do not have the soul for it, sure they can play the blues, but that’s not the point. You have to feel the blues, you must go deep into the blues, open your mind and soul. In my opinion there are only a handful of white musicians in the world who can play the Blues like they should be played: Eric Clapton, Jeff Beck, Peter Green, Jonny Lang, John Mayall, and don’t forget that Whitesnake guy, Bernie Marsden, he got it too. It is not because of their technique, it’s also not their bluesy voices, it’s just simple, they have the blues and that’s it.’
