Chris Spedding — an absolutely stellar guitar player, and all-around cool guy, who I met soon after meeting another awesome gent, Spedding contemporary, Mick Ronson, who I interviewed for Guitar World Magazine. I was introduced to Chris after I started working for VITAL VAN, the premier musician cartage and van moving service in NYC back in the late-80s and early 90s. My Spedding and Vital Van stories could’ve been combined into one really long novella of a post because they are so intimately intertwined, but that isn’t really suitable for the blog format, especially for people who don’t like to scroll, and Chris DEFINITELY rates his own entry. Like Mick Ronson he is a total Guitar Hero and the two of them are not only archetypal British guitar slingers and producers, they also have some very interesting similarities in style. But first, check out Chris with long-time pal, Robert Gordon live on the Conan O’Brien Show.
We were roadies for the Robert Gordon band many times, so I had the chance to watch Chris play up close and personal and we also had many conversations about Guitars, Guitarists, and Guitaring. There were some long drives back from gigs in Boston, Philadelphia, and Washington DC and while the rest of the band was recovering from rocking out, Chris was happy to sit in the front seat of the van and talk music and guitars so I would stay alert and on the road (the traveling back to the city was usually 2am-to-whenever). So, as you can imagine, I was able to hear a lot about what he thought about guitar playing! Chris has a very compact, tasteful, lyrical style and he related at one point that someone he admired was George Harrison, because George’s solos usually functioned as a story within the story of Beatles’ songs. While George was certainly a major purveyor of this style of playing, he didn’t invent the concept and all you have to do to see how this evolved from the Jazz/Blues/Swing era to Rockabilly and Rock and Roll is read my post on The World is Waiting For the Sunrise. Like George, Chris is ALL OVER that hybrid of jazz/blues found in rockabilly and rhythm & blues music and playing with Robert Gordon has given him the chance to work this style for a long time. He has an arsenal of neat little tricks that he pulls out from time to time (see the next video), and unlike a lot of guitar heroes he doesn’t make the execution of tricky things a big production. They are just cool little technical moments that add to the atmosphere of the song. It has been years since I was involved with these guys, but I think Chris’s guitar stylings and Robert’s rockabilly boogie baritone have only gotten better with age. Both of their respective careers traversed much of the same landscape as the 70s and 80s punks, and I’m glad they have managed to age with the confidence and grace that is a characteristic of any of the great music icons. If you want to hear some great Rockabilly and Rock n’ Roll, they are the Real Deal.
Chris also hung out with the Vital Van crew from time to time — a real down-to-earth cat with a great sense of humor, and an avid reader. I remember him working his way through Gore Vidal’s Burr. The Vital scene was chock full of guitar players, and all of us picked up many a helpful hint just from being in Chris’s orbit. He also left his guitars lying around and at least 3 of us cut songs on our own recordings using a Chris Spedding guitar. He had a beautiful Gibson Hummingbird that I used on a song I did for a demo that included the awesome WORKDOGS rhythm section. At one point Chris mentioned that he thought that the Mickey Baker jazz books were a great way of learning how to read and play the kind of stuff he was able to work into his music. I’ve seen Chris start a set with a chord-melody medley of Christmas carols, totally cold (no warm-up backstage), and just kill. As a matter of fact I NEVER saw him warm-up for all the gigs I worked and he was always able to walk onstage, plug in and rock!
As a session player, Chris has been a very important person on some very great albums. It always knocked me out that he was one of the guitarists on the original Jesus Christ Superstar recording. Some of the other music legends he was involved with include Jack Bruce, Harry Nilsson, Roxy Music, John Cale, Paul McCartney, Tom Waits and Elton John. When I interviewed Leslie West in 1990 I mentioned that I had been working with Chris and Leslie had fond memories of his band, Mountain, touring with an early Spedding band, The Sharks, in the 70s. Chris later confirmed this and said that not only did the two bands share the tour, but also would get together at the end of some of the shows to have a big jam. Would’ve been great to see Chris and Leslie together on stage for a song or two don’t you think? Chris also produced some of the first Sex Pistols recordings, and for a long time it was rumored that it was him, not Steve Jones, actually playing on those recordings. I was successful in pitching a Chris Spedding article to Guitar World, (I wish I could find it, but I can’t). and before the interview my editor asked me to bring up the Sex Pistols rumor. I said “yea I’ll totally ask him” even though I already had, and knew the answer, I thought there would be a better chance for the article to get published by stalling. (I had already been handed a couple of rejections). As it turns out, not only did Chris not play on the songs, but his mixes weren’t used and you can read about it from the man himself HERE. Chris did have a whole lot to do with Steve Jones getting THAT guitar sound, which I’ve always thought was pretty flippin’ pro for a 1976 punk band and is probably the reason many people thought it was actually Chris playing. It’s the Spedding sound! If you read the list of credits on his Website, it’s obvious he is a player and producer who is home in many different settings and this is another parallel with Mick Ronson. Both Chris and Mick can be classified not only as superior players, but also as tasteful producers and idea guys for making music — Dudes with Multi-Vision! Here is Chris with Roxy Music from early in the last decade. After the rockabilly, you might think… What’s he gonna do on this song?…and then he plays emotionally and tastefully as he always does.
Chris was a long-time user of Gibson guitars and Fender amps…There are a lot of details on his guitar choices on his Website. He was telling me one night that he found it very easy to work with Les Paul Juniors because he only ever needed or used 1 pick-up (bridge position). On most guitars, he explained, it is impossible to get the sound he wanted on both the bridge and neck positions simultaneously, so it was just easier to get the good sound on the bridge position and use the tone knob or hand muting to produce a neck position sound on the bridge pick-up. As with all guitar players, I’m sure his thoughts on equipment constantly change through the years — at some point he started using a Gretsch, which suits his style perfectly, especially for the rockabilly stuff. He’s always had the slap-back echo sound working for him too and that is one of the two types of guitar echo I favor, especially the way he uses it. When we were working for him he used the Memory Man Deluxe and he would sometimes use a second Fender amp facing him from the front as a guitar monitor. One of my favorite gigs we ever worked was a Chris Spedding-fronted power trio gig in Boston, that included bassist extraordinaire Tony Garnier, long-time member of Bob Dylan’s band. I forget who played drums that night, but after the sound check, Chris, Tony, the drummer, Chicken John and I went and had Thai food and then we returned to the club and the band played something like this…
Of course the crowd dug it immensely just like they still do! It’s great that both Chris and Robert are enjoying a measure of success, because they are two of the very best at what they do. If you have a chance to see them, by all means go!! Hopefully, through the power of the internet, recordings and live performances there are younger players out there who will explore all of the possibilities of studying Chris’s style and will integrate some of it as I and others were able to do so many years ago. It is a way of approaching guitar that can definitely broaden the sonic palette and musical horizon of any player.
**Special thanks to Chicken John for providing the pic of Chris with the Flying V. Chicken has been the proud owner of this guitar for many years.