Allan Holdsworth - ...and on guitar (2017) EXPANDED EDITION

The premise of this series is to showcase famous guitarist's guest appearances on other people's records, but Allan Holdsworth had such an individual career that for this post it will be slightly different. Holdsworth is a unique musician, who is held in high regard by both his fans and his peers, and yet his career is quite fragmented, in that he tended to join a band, record one album with them, and then leave to move on, in effect becoming the guest musician in his own life. This expanded edition takes his career beyond his short-lived membership of those bands of the 70's, and into a 30 year period of solo albums, collaborations, and what turned out to be a multitude of guest appearances.
Allan Holdsworth was born in Bradford on 6th August 1946, where he was raised by his maternal grandparents. His grandfather Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but he eventually returned to Bradford. Holdsworth was given his first guitar at the age of 17, receiving his initial music tuition from his grandfather, and his professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England. His first recordings were in 1969 with the band 'Igginbottom on their lone release, ''Igginbottom's Wrench', on which he also sang and wrote most of the music. In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker, but although they played live, they never released any recorded material. The following year he teamed up with Nucleus leader Ian Carr, and played on Carr's solo album 'Belladonna', before moving on to join progressive rock band Tempest, contributing to their self-titled debut studio album in 1973. Leaving Tempest, he then joined Soft Machine, playing on their 'Bundles' album, then leaving them to join The New Tony Williams Lifetime while they were recording their 'Believe It' album. Another move in 1976 found him in Gong, and recording their progressive jazz/fusion album 'Gazeuse!', before joining Jean-Luc Ponty to play on his 'Enigmatic Ocean'. In 1978 he was off again to team up with Bill Bruford for his 'Feels Good To Me' record, before Bruford formed the progressive rock supergroup U.K. with John Wetton and Eddie Jobson, and invited Holdsworth to join them, where he played on their first album before leaving them. 

Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band ,now simply named Bruford, with Holdsworth retained as guitarist, and their second album 'One Of A Kind' was released in 1979. At this point Holdsworth was ready to pursue his own musical aspirations and soon left the group, teaming up first with Gordon Beck, and then Gary Husband, and by 1982 he'd released his first album as bandleader, with his group I.O.U.'s self-titled record. This was the start of along and illustrious career for him, releasing numerous critically acclaimed albums over a 30 year period. His 1986 album 'Atavachron' was a landmark release in that it was the first to feature Holdsworth's work with a brand new instrument named the SynthAxe. This unusually designed MIDI controller (different from a guitar synthesizer) would become a staple of Holdsworth's playing for the rest of his recording career, during which he would effectively become the public face of the instrument. The next year saw the release of a fourth album, 'Sand', which featured no vocals and showcased further SynthAxe experimentation. This was also the year which saw him back in the studio as a jobbing musician, as after releasing an album a year for five years he answered the call to provide his inimitable guitar-work to an album being recorded by Swiss hard-rockers Krokus. It was a departure from his usual style, but it must have provided the impetus to do more session work, as from 1988 onwards he was hardly ever out of the studio. Firstly there was a second collaboration with Gordon Beck, 'With A Heart In My Song', in 1988, followed by his contribution to a track on Stanley Clarke's 'If This Bass Could Only Talk' album, and also appearing on the title track of 'Radio Free Albemuth' by Stuart Hamm. 

A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of 'Truth In Shredding', an ambitious collaborative project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label. In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon, and with former band-mate Gary Husband now being the drummer for Level 42, these circumstances all led to him contributing guitar work on five tracks for their 1991 album, 'Guaranteed'. The same year he played on Chad Wackerman's first studio album, 'Forty Reasons', returning a favour as Wackerman was Holdsworth's drummer for most of their 30 year career. The 2000's began positively with the release of 'The Sixteen Men Of Tain' in 2000, but it turned out to be the last album he recorded at his Brewery studios, as immediately afterwards he abruptly slowed down his solo output due to events within his personal life. He did, however, tour extensively around both North America and Europe, and played as a guest on albums by numerous artists, most notably on keyboardist Derek Sherinian's 2004 album 'Mythology', as well as with the latter's progressive metal supergroup Planet X, on their 2007 album 'Quantum', and on K²'s 'Book Of The Dead' from 2005. In 2006 he performed with Wackerman, keyboardist Alan Pasqua, and bassist Jimmy Haslip as part of a live tribute act in honour of the late Tony Williams, with whom Holdsworth and Pasqua had played in the mid-1970's. His final contribution to a record was probably his appearance on a couple of tracks from MSM Schmidt's 'Life' album, and his 'Endomorph' was sampled by Playboi Carti on his track 'Location', both in 2017, the year in which Holdsworth passed away at the age of 70, with his death being attributed to high blood pressure. 

Holdsworth's mercurial career has covered many bands, sometimes going back to play with them again years later, but the one thing they all have in common is that their music was enhanced by his inventive guitar playing. Holdsworth was known for his highly advanced knowledge of music theory, through which he incorporated a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of 'chord scales', and intricate improvised solos, frequently across shifting tonal centres. He used a myriad of scale forms often derived from those such as the lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant 'outside' sound. His unique legato soloing technique stemmed from his original desire to play the saxophone, but unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. His guitar style really was unique, and he continues to be cited as an influence by other musicians to this day. 

Track listing

Disc I - 1969-1978
01 Golden Lakes (from ''Igginbottom's Wrench' by 'Igginbottom 1969)
02 Hector's House (from 'Belladonna' by Ian Carr 1972)
03 Up And On (from 'Tempest' by Tempest 1973)
04 Land Of The Bag Snake (from 'Bundles' by Soft Machine 1975)
05 Proto Cosmas (from 'Believe It' by The New Tony Williams Lifetime 1975)
06 Expresso (from 'Gazeuse!' by Gong 1976)
07 Enigmatic Ocean Part III (from 'Enigmatic Ocean' by Jean-Luc Ponty 1977)
08 If You Can't Stand The Heat...' (from 'Feels Good To Me' by Bruford 1978)
09 Nevermore (from 'U.K.' by U.K. 1978)

Disc II - 1986-1991
01 Long Way From Home (from 'Change Of Address' by Krokus 1986)
02 The Grand Pajandrum (from 'Soma' by Soma 1986)
03 Stories To Tell (from 'If This Bass Could Only Talk' by Stanley Clarke 1988)
04 Radio Free Albemuth (from 'Radio Free Albemuth' by Stuart Hamm 1988)
05 Obsession (from 'A Question Of Time' by Jack Bruce 1989)
06 Under Fire (from 'Attack Of The Neon Shark' by Alex Masi 1989)
07 Bathsheba (from 'Truth In Shredding' by The Mark Varney Project 1990)
08 You Came Along (from 'Forty Reasons' by Chad Wackerman 1991)

Disc III - 1991-2004
01 A Kinder Eye (from 'Guaranteed' by Level 42 1991)
02 You Have To Wait (from 'Oneness' by Andrea Marcelli 1992)
03 Forest Of Feeling (from 'Lone Ranger' by Jeff Watson 1992)
04 Allan Qui? (from 'Suffer' by Gongzilla 1995)
05 Wring It Out (from 'From Your Heart And Your Soul' by Steve Hunt 1997) 
06 Day Of The Dead (from 'Mythology' by Derek Sherinian 2004)
07 Long Voyage Home (from 'Sonic Undertow' by Riptyde 2004)

Disc IV - 2005-2017
01 Aten (Window Of Appearances) (from 'Book Of The Dead' by K² 2005)
02 Skippy (from 'Nebula' by David Hines 2005)
03 Tsunami (from 'The State Of Things' by David Garfield & Friends 2005)

04 El Gato Fandango (from 'Prowlin' by Dan Carlin 2007)
05 The Thinking Stone (from 'Quantum' by Planet X 2007)
06 Fred 2011 (from 'Dirty & Beautiful - Volume 2' by Gary Husband 2012)
07 Location (from 'Playboi Carti' by Playboi Carti 2017)
08 Vista (from 'Life' by MSM Schmidt 2017)

Allan Holdsworth - ...and on guitar (1978)

The premise of this series is to showcase famous guitarist's guest appearances on other people's records, but Allan Holdsworth had such an individual career that for this post it will be slightly different. Holdsworth is a unique musician, who is held in high regard by both his fans and his peers, and yet his career is quite fragmented, in that he tended to join a band, record one album with them, and then leave to move on, in effect becoming the guest musician in his own life.

Allan Holdsworth was born in Bradford on 6th August 1946, where he was raised by his maternal grandparents. His grandfather Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but he eventually returned to Bradford. Holdsworth was given his first guitar at the age of 17, receiving his initial music tuition from his grandfather, and his professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England. His first recordings were in 1969 with the band 'Igginbottom on their lone release, ''Igginbottom's Wrench', on which he also sang and wrote most of the music. In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker, but although they played live, they never released any recorded material. The following year he teamed up with Nucleus leader Ian Carr, and played on Carr's solo album 'Belladonna', before moving on to join progressive rock band Tempest, and recording their self-titled debut studio album in 1973. Leaving Tempest, he then joined Soft Machine, playing on their 'Bundles' album, then leaving them to join The New Tony Williams Lifetime and playing on their 'Believe It' album. 

Another move in 1976 found him in Gong, and recording their progressive jazz/fusion album 'Gazeuse!', before joining Jean-Luc Ponty to play on his 'Enigmatic Ocean', and in 1978 he was off again to team up with Bill Bruford for his 'Feels Good To Me' record, before Bruford formed the progressive rock supergroup U.K. with John Wetton and Eddie Jobson, and invited Holdsworth to join them, where he played on their first album before leaving them. Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist, and their second album 'One Of A Kind' was released in 1979. At this point Holdsworth was ready to pursue his own musical aspirations and soon left the group, teaming up first with Gordon Beck, and then Gary Husband, and by 1982 he'd released his first album as bandleader, with I.O.U.'s self-titled record. After eleven solo albums, and constant touring to promote them, he passed away on 15th April 2017, with his death attributed to high blood pressure. 

Holdsworth's mercurial career has covered many bands, sometimes going back to play with them again years later, but the one thing they all have in common is that their music was enhanced by his inventive guitar playing. Holdsworth was known for his highly advanced knowledge of music theory, through which he incorporated a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of 'chord scales', and intricate improvised solos, frequently across shifting tonal centres. He used a myriad of scale forms often derived from those such as the lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant 'outside' sound. His unique legato soloing technique stemmed from his original desire to play the saxophone, but unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. His guitar style really was unique, and he continues to be cited as an influence by other musicians to this day. 

Track listing

01 Golden Lakes (from ''Igginbottom's Wrench' by 'Igginbottom 1969)

02 Hector's House (from 'Belladonna' by Ian Carr 1972)

03 Up And On (from 'Tempest' by Tempest 1973)

04 Land Of The Bag Snake (from 'Bundles' by Soft Machine 1975)

05 Proto Cosmas (from 'Believe It' by The New Tony Williams Lifetime 1975)

06 Expresso (from 'Gazeuse!' by Gong 1976)

07 Enigmatic Ocean Part III (from 'Enigmatic Ocean' by Jean-Luc Ponty 1977)

08 If You Can't Stand The Heat...' (from 'Feels Good To Me' by Bruford 1978)

09 Nevermore (from 'U.K.' by U.K. 1978)

Mick Taylor - ...and on guitar (1988)

Michael Kevin Taylor was born on 17 January 1949 in Welwyn Garden City, but was raised in Hatfield, and began playing guitar at age nine, learning to play from his uncle. As a teenager, he formed bands with schoolmates and started performing concerts under names such as The Juniors and the Strangers, who also appeared on television and put out a single. At aged 16 he went to see a John Mayall's Bluesbreakers performance at The Woodhall Community Centre, where the band performed their first set without a guitarist. It became clear that for some reason Eric Clapton was not going to show up, and seeing that his guitar had already been set up on the stage, Taylor approached Mayall during the interval to ask if he could play with them. He mentioned that he was familiar with the band's repertoire, and after a moment of deliberation, Mayall agreed. After playing the second set, and garnering Mayall's respect in the process, Taylor left the stage, joined his friends and left the venue before Mayall had the chance to speak with him. This encounter would prove to be pivotal in Taylor's career when Mayall needed someone to fill Peter Green's vacancy the following year, when Green quit to form Fleetwood Mac. Mayall placed a 'Guitarist Wanted' advert in the weekly Melody Maker music paper, and much to his relief immediately got a response from Taylor, whom he readily invited to join. 
From 1966 to 1969, Taylor developed a guitar style that is blues-based with Latin and jazz influences, and appeared on the albums 'Diary Of A Band', 'Bare Wires', and 'Blues From Laurel Canyon'. After Brian Jones was removed from The Rolling Stones in June 1969, Mayall recommended Taylor to Mick Jagger, and following a rehearsal session an impressed Jagger and Keith Richards invited Taylor back the following day to continue rehearsing and recording with the band, where he overdubbed guitar on 'Country Honk' and 'Live With Me' for the album 'Let It Bleed', and on the single 'Honky Tonk Women'. After the 1973 European tour, Richards' drug problems had worsened and begun to compromise the band's ability to function, with the band members living in various countries, and between recording sessions Taylor appeared on Herbie Mann's 'London Underground' album (appropriately enough on a cover of his own band's 'Bitch'), and also contributed guitar to 'Dolly' from Nicky Hopkins' 'The Tin Man Was A Dreamer'. In 1974 recording started on the Rolling Stones' 'It's Only Rock 'n' Roll' album, but he found it difficult to get along with Richards, and so not long after those sessions, Taylor went on a six-week expedition to Brazil, to travel down the Amazon River in a boat and explore Latin music. In December 1974 Taylor announced he was leaving the Rolling Stones, with his decision coming as a shock to fans, and especially the Stones, who were reportedly angry at Taylor for leaving at such short notice. 
In 1975 he formed a band with Jack Bruce and Carla Bley, but after a short European tour they disbanded the following year. In 1977 he attended London-based sessions for the John Phillips album 'Pay Pack & Follow', appearing on several tracks alongside Jagger, Richards and Wood, and the same year he also played guitar on sessions by Alan Merrill and Elliott Murphy. Taylor appeared as a special guest of Little Feat at the Rainbow Theatre in London in early 1977, sharing slide guitar with frontman Lowell George on 'A Apolitical Blues', and that summer he collaborated with Pierre Moerlen's Gong for their 1978 album 'Expresso II', helping out the following year on their 'Downwind' release. The early 80's were spent touring, firstly with Alvin Lee in 1981, then on a John Mayall's Bluesbeakers reunion tour from 1982-1983, and in 1984 he was part of Bob Dylan's touring band. In 1988 he played some great blues guitar on Speedo Jones' 'Have Blues Will Travel' album, and he also performed the lead guitar solo on Joan Jett & the Blackhearts' top-10 single 'I Hate Myself for Loving You'. During his time with the Stones he was always considered their most fluid and melodic guitar player, and this collection shows that skill superbly in a variety of different settings. 

Track listing

01 Bitch (from 'London Underground' by Herbie Mann 1973)
02 Dolly (from 'The Tin Man Was A Dreamer' by Nicky Hopkins 1973)
03 Always Another Train (from 'Alan Merrill' by Alan Merrill 1977, released 1985)
04 Oh Virginia (from 'Pay Pack & Follow' by John Phillips 1977, released 2001)
05 Rock Ballad (from 'Just A Story From America' by Elliott Murphy 1977) 
06 Heavy Tune (from 'Expresso II' by Gong 1978)
07 A Apolitical Blues (from 'Waiting For Columbus' by  Little Feat 1978)
08 What You Know (from 'Downwind' by Pierre Moerlen's Gong 1979)
09 Break Your Broom (from 'Have Blues Will Travel' by Speedo Jones 1988)
10 I Hate Myself For Loving You (from 'Up Your Alley' by Joan Jett & The Blackhearts 1988)