b/ Doug Wimbish (Trippy Notes for Bass)
OF LIVING COLOUR
A BASS ODYSSEY
Wood Brass & Steel
Original Sugar Hill Rhythm Section
“Vice” Miami — Miami Vice Soundtrack
Artists United Against Apartheid
Doug, onstage in Buenos Aires, Argentina (2015)
— by Luciana Casado (Rosario, Argentina)
Portrait for Doug’s second solo album CinemaSonics (2009)
— by Marcos Hermes (Sao Paulo, Brazil)
HIP-HOP’S ORIGINAL RHYTHM SECTION
— called the “world’s best” by the New York Times
Skip “Little Axe” McDonald/ guitar
Keith LeBlanc/ drums
Doug Wimbish/ bass guitar
“The Message” — Grandmaster Flash does not appear. Rejected the offer.
Instead, Melle Mel and The Furious Five.
“White Lines” — The Robinsons rejected Spike Lee’s video, starring Lawrence Fishburn.
After that, Doug and his Sugar Hill bandmates moved to London and with On-U Sound Records founder/producer Adrian Sherwood formed an Industrial, Electro Funk band they called TACK>>HEAD.
By 1990, Tack>>Head had become one of the most popular live bands in Europe’s underground club scene, especially in London, where they caught the attention of Jeff Beck, Seal, Annie Lennox, the Rolling Stones, and a young local named Vernon Reid who was staking his early claim in Downtown New York City, playing a brand of extreme Fusion, called “Outside Jazz” by many of its proponents. Also among Tack>>Head’s notable fans were: Moby, Red Hot Chili Peppers, Joe Satriani, James Brown and so many more musicians back home in America. Many of those in appreciation later recruited Doug to lend his virtuosity, and creativity to both their records and their stage acts.
— video by dave hogerty (original>>noise)
“PASS IT AROUND” is a composition off Doug’s all-instrumental debut solo album, TRIPPY NOTES FOR BASS (2000). Most of the songs on CinemaSonics (2008), his second solo record, are sung by Doug himself, with other vocals by a number of his long-time bandmates/vocalists.
— video by dave hogerty (original>>noise)
“BI” — LIVING COLOUR at the Highline Ballroom in New York City (10/28/09), the last show of an American Tour in support of THE CHAIR IN THE DOORWAY. “Bi” features Doug, whose daughters Olivia and Nova can be seen while he stands in the crowd taking his solo.
DOUG WIMBISH is probably best known as the innovative lead bassist in the Grammy Award-winning hard rock band LIVING COLOUR, but looking beyond the obvious, one quickly sees that Doug’s influence and impact on the world’s musical culture is much more vast and significant than often written or recognized.
For more than 40 years, Doug has been one of the most sought-after electric bassists, and has collaborated with many of the world’s best known, and most talented musical artists.
Having participated in the making of so many popular recordings, in every musical style, and in every corner of the globe, it’s hard to find a community that hasn’t been exposed to Doug’s music.
To get an idea of the respect Doug has earned within the music industry, consider that one week in 1992, he received personal phone calls from MICK JAGGER, BRUCE SPRINGSTEEN, and SEAL, all asking him to join their bands. Now consider he turned them all down, choosing to stay with his LIVING COLOUR bandmates, VERNON REID (guitar), COREY GLOVER (vocals), and WILL CALHOUN (drums).
Despite his decision in 1992 to stay with LIVING COLOUR (as a permanent member), DOUG did go on to record, produce, and tour with dozens of well-known artists, including THE ROLLING STONES, JEFF BECK, JOE SATRIANI, HERB ALPERT, ANNIE LENNOX, MADONNA, CARLY SIMON, AL GREEN, BILLY IDOL, GEORGE CLINTON, and JAMES BROWN.
More recently (post 9/11), DOUG also joined Hip-Hop, Hollywood Movie and Broadway Theater Star MOS DEF’s Hip-Rock band BLACK JACK JOHNSON, and in 2007, played on Finland’s Rock Opera Diva TARJA TURUNEN’s first solo record, MY WINTER STORM. He has also toured with Turunen (as her band leader) ever since.
— photograph by Kari Helenius (firstname.lastname@example.org)
Doug onstage with Tarja Turunen (Finland, 2007)
“PHANTOM OF THE OPERA” — TARJA TURUNEN (vocals), TONY TURUNEN (guitar/vocals), DOUG WIMBISH (bass), MIKE TERRANA (drums), ALEX SCHOLPP (guitar), MAX LILJA (cello), MARKUS HOHTI (cello), MARIA Maria ILMONIEMI (keyboards).
The Ice Princess
After playing on TARJA TURUNEN’s MY WINTER STORM, the singer’s first solo album after leaving her longtime band NIGHTWISH, Doug was asked to play on the new band’s first European Tour in the winter of 2007, and has played on all of Tarja’s four subsequent World Tours in 2008, 2009, 2010, and 2011. Between touring with TARJA, Doug spent most of 2009 on the road with LIVING COLOUR in support of The Chair in the Doorway, and toured with all his old English ON-U SOUND mates (MARK STEWART + MAFFIA, LITTLE AXE, and TACK>>HEAD.)
2010 — LIVING COLOUR anchored the EXPERIENCE HENDRIX TOUR, playing both sets of their own, and backing the tour’s lead guitarists, JOE SATRIANI and STEVE VAI.
2011 — In addition to the continuation of “EXPERIENCE HENDRIX,” and finishing TACK>>HEAD’s new SHARE>>HEAD album, Doug joined LAURYN HILL on JIMMY FALLON’s Late Night television program. Soon after, Doug was asked to join Lauryn on the road, starting with a show at the Los Angeles Coliseum with MUSE and RAGE AGAINST THE MACHINE on the “RISE AGAINST THE MACHINE” tour, and ending in New York City, headlining the ROCK THE BELLS TOUR.
2012 — Doug was asked by The Miami Design Preservation League to produce a Music Festival as part of MDPL’s Annual ART DECO WEEKEND. After a successful inaugural that featured Vinx/Jungle>>Funk, Adam Falcon, David Pastorius, Ladell McLin, DJ Rampage Global, and Miami’s own Suenalo, Doug returned in 2013 with another All-Star lineup that included violinist Christian Howes.
THE ODYSSEY CONTINUES
As NASA’s Voyager continues on it’s exploration of our Solar System,
It could be said that Doug’s musical journey began when he was a kid in the late 1960s, inspired by his older brother Victor’s interest in the Rock and Soul music of the day, listening to everything from
and, of course,
After picking up a guitar, one hot, summer day in his aunt and uncle’s appliance/music store in the Bahamas, Doug sought early guidance from his brother Victor’s bass-playing friend Gary Williams, who marvels at how quickly Doug’s virtuosity showed itself.
By the early ’70s, as a HARTFORD CONSERVATORY student of jazz saxophonist JACKIE McLEAN (who was also a teenager when he started his professional career, playing on MILES DAVIS’ DIG Album in 1951) Doug’s career in music was firmly established.
A Journey Through Time and Space
1976 — Doug’s first “real” job was with guitarist
SKIP “LITTLE AXE” McDONALD
HAROLD SARGENT and
WOOD, BRASS & STEEL.
It was then that Doug, Skip, and Keith (THE ORIGINAL SUGARHILL RHYTHM SECTION)
JOE and SYLVIA ROBINSON
as the house band for their recently formed SUGAR HILL RECORDS. As Hip-Hop’s ORIGINAL RHYTHM SECTION, the three wrote, played, and recorded many of the genre’s original anthems, including “THE MESSAGE,” “WHITE LINES,” and “THAT’S THE JOINT,” before picking up rather suddenly, and moving to London (“fleeing the Robinsons for their lives”).
It was in England, that all three started a musical collaboration with producer ADRIAN SHERWOOD’s ON-U SOUND RECORDS label, that resulted most significantly in the creation of the Industrial Funk band called TACK>>HEAD, and a musical partnerships that remain strong today.
1978 — With a talent that was immediately apparent, Doug was recruited to play bass on MUSIQUE’s KEEP ON JUMPIN’ (12″) with the dance hits “KEEP ON JUMPIN'” and “IN THE BUSH,” which were (along with Wood, Brass, & Steel’s “FUNKANOVA”) both mainstays of the Late-’70s New York City club scene at STUDIO 54, THE PARADISE GARAGE, and DAVID MANCUSO’s LOFT.
Not since WOOD, BRASS & STEEL had Doug, Skip, and Keith’s instrumental abilities been completely appreciated. Despite a New York Times writer calling them “THE WORLD’S FINEST RHYTHM SECTION,” the band went mostly unnoticed, as nearly all the early hip-hop attention went to MCs, DJs, and Graffiti Writers, rather than the musicians who were actually playing the music.
1983 — SUGAR HILL mate KEITH LEBLANC (with the blessing of Malcolm X’s widow (BETTY “QUEEN” SHABAZZ) recorded the landmark “NO SELL OUT,” considered the first effective use of “sampling” committed to vinyl. “No Sell Out” is a 12″ single on which Keith cuts pieces of MALCOLM X speeches and mixed them with his own experimental, electronic drum beats. SUGAR HILL owners JOE and SYLVIA ROBINSON, without Keith’s knowledge or approval, steal the master tapes, and press 500,000 vinyl copies of “NO SELL OUT.” On the record’s label, writing credit is given to “SUGAR HILL RECORDS,” with no mention of Keith. Keith then makes a legal claim for his artistic, and financial rights to the record, and wins the case in Federal Court. The Robinson’s legal defeat proves to be a significant blow to their already suffering SUGAR HILL Label. By 1985, The Robinson’s Hip-Hop Empire had fallen, having been rolled over by RUN DMC, THE BEASTIE BOYS, and most importantly DEF JAM RECORDS.
1984 — DOUG, SKIP, and KEITH, with MELLE MEL (“THE MESSAGE” vocalist), write and record “VICE,” a song on the original MIAMI VICE SOUNDTRACK Album produced by JAN HAMMER. From the moment of the song’s release, Joe Robinson insisted Sugar Hill was owed a substantial percentage of the proceeds. Fear of Joe Robinson was a serious consideration in the ORIGINAL SUGAR HILL RHYTHM SECTION’s move to London.
1985 — DOUG, KEITH, and SKIP contribute significantly to “SUN CITY,” the Anti-Apartheid Anthem attributed to MILES DAVIS, BRUCE SPRINGSTEEN, U2, HERBIE HANCOCK, and nearly every other pop star of the day. Despite playing, and doing production work on the iconic recording, Doug, Keith, and Skip are not listed in the credits.
w/ Jeff Beck
— Japanese Television
After seeing Doug playing a Tack>>Head show in London, Jeff Beck asked him to play bass on his upcoming tour, being shared with Carlos Santana, who Doug also collaborated with later.
In a move to London that Doug describes as “running for his live” from Sugar Hill Records owner Joe Robinson, who demanded a cut of his “Miami Vice” and “Sun City” money, Doug quickly came to the attention of many of England’s musical elite.
— from “Jeff Beck performing Live at Ronnie Scott’s”
In the interview section of JEFF BECK LIVE AT RONNIE SCOTT’S (DVD), Beck mentions Doug in a recollection of how his current drummer VINNIE COLAIUTA came to join his band.
UPON REACHING LONDON, Doug and his SUGAR HILL mates (SKIP McDONALD and KEITH LEBLANC) went straight to work with ADRIAN SHERWOOD (ON-U SOUND), and attracted the immediate attention of England’s musical elite, including THE ROLLING STONES, and JEFF BECK.
Beck invited Doug to join his band, and took him on his 1986 SUMMER TOUR OF JAPAN, which also featured STEVE LUKATHER, SIMON PHILIPS, JAN HAMMER, and CARLOS SANTANA and his band which included ALPHONSO JOHNSON.
1986 — “MAJOR MALFUNCTION,” a result of KEITH’s FURTHER ELECTRONIC EXPERIMENTATION, makes use of the Mission Control [NASA] dialog during the tragic EXPLOSION OF THE SPACE SHUTTLE CHALLENGER. With Skip, Doug, and Adrian Sherwood all part of the recording, it is considered by many to be the FIRST TACK>>HEAD RECORDING.
1987 — ADRIAN SHERWOOD wisely recruits his new favorite FUNKY AMERICAN BAND (Doug, Skip, and Keith) to back a number of ON-U SOUND’s politically aggressive vocalists, including GARY CLAIL and MARK STEWART. An album of tunes with Clail called “TACK>>HEAD TAPE TIME” is the first time the name “TACK>>HEAD” had ever been used as a recording credit.
1988 — FRIENDLY AS A HAND GRENADE, Tack>>Head’s first full-length album features American singer BERNARD FOWLER, a member of LARRY LEVAN’s NYCiti Peech Boys of PARADISE GARAGE fame, and who had just joined the ROLLING STONES for their STEEL WHEELS WORLD TOUR.
BERNARD’s SOULFUL INFLUENCE moves Doug, Skip, and Keith (THE ORIGINAL THREE) back toward their Funky, Rhythm & Blues (American) Roots … a change that became much more apparent on Tack>>Head’s second (and last) album, STRANGE THINGS.
1990 — TACK>>HEAD’s over-the-top, aggressive virtuoso live performances quickly earned the band a cult-like status in the [post-punk/pre-trip-hop] LONDON UNDERGROUND. One fan, MICK JAGGER, asked if he could make a guest (vocal) appearance on TACK>>HEAD’s second album, STRANGE THINGS. The band obliged, and Mick sings (background) on “Take a Stroll.”
1992 — After the dissolution of TACK>>HEAD in 1991, Doug was recruited to participate in a number of high-profile ROLLING STONES projects, including the band’s BRIDGES TO BABYLON album, and on a number of solo records produced by the individual members: MICK JAGGER, KEITH RICHARDS, CHARLIE WATTS, and RONNIE WOOD.
— Also in this period, Doug played on records produced by DEPECHE MODE, BILLY IDOL, GEORGE CLINTON, CLARENCE CLEMMONS, MICHAEL HUTCHENS, and J. GEILS.
w/ Carly Simon
— video (CarlySimon.com)
In support of her 1995 release, LETTERS NEVER SENT, Carly Simon and her band (w/Doug playing bass) did a surprise (free) show in the middle of New York City’s Grand Central Station. A video was released at the time, but the performance has yet to be made available on DVD.
“HAVEN’T GOT TIME FOR THE PAIN”
— In addition to his 1995 gig with CARLY SIMON (writing, playing and producing on her album LETTERS NEVER SENT), Doug’s reputation earned him praise from other vocalists who he collaborated with, including ANNIE LENNOX (primary bassist on MEDUSA and DIVA), SEAL (SEAL),AL GREEN (YOUR HEART’S IN GOOD HANDS), CANDI STATON, MELBA MOORE, FREDDIE JACKSON, WILL DOWNING, MICHAEL BOLTON, and MADONNA.
BACK IN THE USA
It was in a week soon after his return to America (after the first demise of TACK>>HEAD) that DOUG received calls from MICK JAGGER, BRUCE SPRINGSTEEN, and SEAL (who appreciated Doug’s playing on his “Crazy” popular debut), all asking him to join their bands. Having already been recruited to fill in for original LIVING COLOUR bassist MUZZ SKILLINGS on the band’s South Americn leg of its 1991 World Tour, helped in Doug’s decision to turn all three celebrity offers down.
LIVING COLOUR welcomed DOUG as an equal member, and subsequently he contributed (as a writer, player, and producer) to 1993’s STAIN, the band’s third full-length studio album.
STAIN earned immediate and widespread critical acclaim, but with the onslaught of Seattle Grunge, the record went largely unnoticed publicly. Despite a well-received world tour, LIVING COLOUR (moved mostly by guitarist VERNON REID) decided to call it quits before the end of the year.
w/ Style Scott (On-U Sound)
— video (YouTube/Wobbleon1)
During his short, abruptly ending stint with LIVING COLOUR, Doug had mantained his musical relationship with both his ORIGINAL SUGAR HILL RHYTHM SECTION partners and ADRIAN SHERWOOD’s ON-U SOUND crew in London. This (DUB/REGGAE) performance from Carnival ’94, in Brighton’s Stanmer Park, (May 30, 1994) sees DOUG and SKIP McDONALD joining STYLE SCOTT’s DUB SYNDICATE (ON-U SOUND) which includes producer Adrian Sherwood on the mixing desk, playing the same “live” roll as he always did with TACK>>HEAD.
— Also in this period, Doug recorded and toured with additional On-U Sound associates, including LITTLE ANNIE, BIM SHERMAN, STRANGE PARCELS, and BOMB THE BASS.
THE BLUESMAN COMETH
1994 — AFTER LIVING COLOUR’s DISSOLUTION, Doug left New York City, and returned home to his loft/studio in Hartford, Connecticut. It was then, the first time in nearly 15 years, that Doug was without any obligation to a specific band or project.
For the first time Doug dedicated his time to developing a musical style of his own …
THE DARK, MOSTLY INSTRUMENTAL, AMBIENT SOUND HE’S KNOWN FOR TODAY.
1996 — This was also the period when Doug strengthened what remains today as one of his tightest musical bonds … that he has with LIVING COLOUR drummer and bandmate WILL CALHOUN. It was Will who Doug went to most when working on his own music. When the time came to commit material to disc, and to play out live, Doug and Will call their new DRUM/BASS, AMBIENT WALL-OF-SOUND THE HEAD>>FAKE SOUND SYSTEM.
After producing two full-length demos, HEAD>>FAKE partners with jazz vocalist/percussionist VINX (DE’JON PARRETTE), call themselves JUNGLE>>FUNK and embark on an Eastern European Tour.
So well received was JUNGLE>>FUNK, Zebra Records released a self-titled disc made up of live recordings from the tour, and eventually, the record was voted 1999’s “Best ‘Jazz’ Album” in the Czech Republic.
Taking note of the new HEAD>>FAKE sound in America was none other than HERB ALPERT, who invited DOUG and WILL to write, produce, and play on the Tijiuana Brass/A&M Records’ new album, COLORS. Pleased with the results, ALPERT received praise from both critics and fans, calling what was fundamentally a HEAD>>FAKE + ONE record an “INCREDIBLY MODERN RECORDING,” “A SORT OF URBAN-JAZZ-BRASS-FUSION,” and “ALPERT’S BEST EFFORT SINCE (The Multi-Platinum) RISE.”
2000 — At the end of what had been THE MOST EXPERIMENTAL 1990s, DOUG FELT READY TO RELEASE HIS FIRST “SOLO” RECORD. Influenced by WILL CALHOUN’s WORLD-WIDE NATIVE RHYTHMS AND BEATS and ADRIAN SHERWOOD’s SONIC EXPLORATIONS, Doug uses his mastery of FREQUENCY MANIPULATION and ELECTRONIC EFFECTS and produced his own MYSTERIOUSLY MELODIC, DARK, AMBIENT, and EVOCATIVE SOUND.
When asked about the title of his first solo recording, Doug answers without pause, “After hearing the master, it struck me as a continuous string of TRIPPY NOTES FOR BASS.
In The Post-Apocalyptic Area
w/ Living Colour
— video by dave hogerty (original>>noise)
The band closed its show (December 28, 2001) at the House of Blues in Orlando, Florida with a Jimi Hendrix standard, “Crosstown Traffic,” a tune Doug also covered often when playing with TACK>>HEAD.
December 21, 2000 — DOUG and WILL were playing a HEAD>>FAKE gig at the Legendary CBGB’s with “guest” LIVING COLOUR vocalist COREY GLOVER. Coincidentally, LIVING COLOUR guitarist VERNON REID was in the audience, and when asked, joined the others onstage to play an old LIVING COLOUR standard, a cover of the TALKING HEADS’classic, “MEMORIES CAN’T WAIT.”
It was the first time in seven years that all four LIVING COLOUR bandmembers had played together … and they enjoyed it enough to go out on a 2001 REUNION TOUR.
Having the tour INTERRUPTED BY THE 911 ATTACK ON THE TWIN TOWERS, Living Colour considered calling it quits again, but instead decided to makeup the cancelled dates later that year.
The tour’s last show was in NYC’s Central Park on New Year’s Eve (2002), in front of large, enthusiastic “hometown” crowd. Positive enough were the feelings for each individual member, that they decided to stay together and record a new album.
Head>>Fake / 2003
COLLIDEOSCOPE (LIVING COLOUR’s FOURTH STUDIO ALBUM)
HEAD>>FAKE: LIVE IN THE AREA OF PRAGUE,
recorded the previous winter by PETR TOMAIDES (TOMATO22)
Czech Republic nightclub called LUCERNA.
CollideOscope included much of the early, guitar rock LIVING COLOUR was known for, but also exhibited a healthy dose of the Bass/Drum Electronics Doug and Will had developed during the band’s 5-year hiatus.
It was almost as if the band had brought two halfs (one LIVING COLOUR and one HEAD>>FAKE) together to make the CollideOscope album whole. Reminiscentof VIVID, VERNON REID’s “FLYING” is a more traditional, well-written, evocotive, melancholy description of the 911 attack on the World Trace Center, where as, “A ? OF WHEN,” with it’s sampled dialogue and Industrial Beat might have been more comfortable on an early HEAD>>FAKE demo.
In the first couple of years after the LIVING COLOUR REUNION, the band effectively combined both qualities in its live sets, but it was six years before the members were enough in sync to write and record their next studio release, 2009’s CHAIR IN THE DOORWAY.
2004 — Despite having been on the wildest of professional rides, circling the globe and passing through every culture and genre of music, Doug has always stayed in touch with his well founded roots. With SKIP McDONALD, and KEITH LEBLANC, his ORIGINAL SUGAR HILL RHYTHM SECTION mates, Doug has continued to tour extensively, and has played on Skip’s next for LITTLE AXE albums (HARD GRIND , CHAMPAGNE & GRITS  STONE COLD OHIO , and BOUGHT FOR A DOLLAR, SOLD FOR A DIME ). Doug, Keith and Skip also tour with original TACK>>HEAD (ON-U SOUND) vocalist MARK STEWART, calling themselves MARK STEWART + MAFFIA, and the three also contributed significantly to Stewart’s 2008 album, EDIT, his first in nearly 20 years.
Black Jack Johnson
w/ Mos Def
— video (HBO/Reverb)
WHAT IS IT GOOD FOR?…. When MOS DEF reached out to friend WILL CALHOUN, asking him to assemble a band that could best help him deliver a HIP-HOP MESSAGE with ROCK ‘N’ ROLL AGGRESSION, Doug was first on Will’s list to sign up for the mission. Then adding BERNIE WORRELL (keyboards) and BAD BRAINS guitarist DR. KNOW, Mos’ new BLACK JACK JOHNSON band came to be.
After a live NYC show recorded at the Bowery Ballroom for HBO’s Reverb, the band recorded two albums, BLACK ON BOTH SIDES (2002) and THE NEW DANGER (2005).
Tack>>Head / 2004
Doug’s daughter Nova (7-years-old at the time in 2007) was armed with her Daisy guitar when photographed standing outside Doug’s Asylum St. loft/studio in downtown Hartford, Connecticut, with the gold-domed state capital building rising out of Bushnell Park in the background. Later that night Nova made her first WimBash appearance as a performer.
2005 — Starting with a TACK>>HEAD REUNION in 2004 (the band’s first performance in 14 years), Doug began hosting a show at Sully’s Pub & Tiki Bar, a tiny beer bar/pizza joint near his home in downtown Hartford, Connecticut. The annual “WIMBASH,” as it was named in 2005, features Doug playing with a number of his world-class musician friends, as well as select local bands, providing the opportunity to see artists, who more often play large venues in large cities all around the world, in a much more intimate setting.
2012 — In its ninth year, Doug’s WIMBASH continued to grow in popularity and attracted more and more talented musicians to his NOVA SOUND FAMILY. In addition to the hometown (Hartford, Connecticut) shows at SULLY’s, Doug partnered with ROCKHOUSE ENTERTAINMENT to present three WIMBASH WEST shows in Anaheim, California; with THE DREAM PROJECT in Dominican Republic for two Caribbean shows in Cabarete; and with ORIGINAL>>NOISE for the Miami Design Preservation League’s ART DECO WEEKEND in Miami Beach (2012-2015).
Future of the Blues
Always the Original Sugar Hill Rhythm Section
WOOD, BRASS, & STEEL
LITTLE AXE — The Wolf That House Built.
Rising proudly from the ashes of Tack>>Head,
Skip, Doug, Keith, and Adrian all worked on individual projects, and always when together,
working with Skip’s material, Skip called the band “Little Axe,” a name he had gone by
since his starting as a young bluesman in Dayton, Ohio.
When together, working with Skip’s material, Skip called himself and the band
“Blues/Gospel/Dub Crash” … The Future of the Blues.
— Real World Records
STONE COLD OHIO — A 2006 interview, with SKIP “LITTLE AXE” McDONALD, ADRIAN SHERWOOD, DOUG WIMBISH, and KEITH LEBLANC on PETER GABRIEL’s Estate (Real World Studio) just outside of London.on his estate outside of London. Having just finished Little Axe’s fourth album, STONE COLD OHIO, the band was on location to headline that night’s concert celebrating the REAL WORLD RECORDS’ 30TH ANNIVERSARY.
The video also includes clips from Little Axe’s live performance that ended with the band being joined by Gabriel and friend ROBERT PLANT and playing a number of classic GENESIS and LED ZEPPELIN tunes.
Impressed with the band, Plant invited Little Axe to open for him on the West Coast (US) tour he played the following year. The band obliged.
When putting Bernard out front, Tack>>Head called themselves Bad Dog.
FRIENDS WITH PRIVILEGES (2007).
School of Rock
2013 — Doug established an ongoing relationship with the SCHOOL OF ROCK, and has since included a second day of educational workshops to his WIMBASH events, and also invited the students to perform as part of the next day/night’s show.
— video by dave hogerty (original noise)
BRANDON “TAZ” NEIDERAUER — A fan favorite at the (Sept. 13, 2014) Wimbash at Sully’s Pub & Tiki Bar in Hartford, Connecticut was 12-year-old guitarist Brandon Niederauer, playing the Allman Brothers classic “Whipping Post” with his brother Dylan (bass), Nicky Winegardner (vocals/guitar), and Henry Thomas (drums).
“TONGUES ON FIRE” — A Tribute to The Black Panthers (Paris, France / February 6, 2010)
Doug’s solo in Living Colour’s performance of David Murray’s musical interpretation of Emory Douglas’ revolutionary art. Since his participation in the 1960s, Douglas has been known as The Black Panther Party’s “Minister of Culture.”
Emory Douglas (Black Panther Ministry of Culture/Artist)
Celebrating the Blues
“The Way You Move” … Doug with Will Calhoun (drums) and Bernie Worrell (keyboards) at a post-Katrina performance benefitting a New Orleans educational program for underprivileged local students.
BOUGHT FOR A DOLLAR, SOLD FOR A DIME
— Little Axe’s 2011 Real World Records release.
— video by dave hogerty (original>>noise)
— One of Doug’s vocal performances on his second solo album, CinemaSonics.
Still a member of Living Colour, Doug has played with a long list of the world’s finest musicians, including the Rolling Stones (together and individually), Jeff Beck, Joe Satriani, Annie Lennox, Carly Simon, Madonna, Depeche Mode, Billy Idol, James Brown, Afrika Bambaataa, Al Green, Tarja Turunen, Mos Def … and many others.
Published on May 14, 2009
One man band and journey man bass player Doug Wimbish playing ‘Quasimodo’, on the stage of Paradiso, Amsterdam, The Netherlands. This footage was shot in 1999 during a VPRO television program called ‘Moondive’.
‘Moondive’ put together different musicians with one mission: to create enough material in one week for a live show on Friday. Participating musicians for this edition: Doug Wimbish (bass), Peter van Bergen (saxophone), Huib Emmer (electronics/guitar), Stefan Robbers (electronics), Gerard Bouwhuis (piano) and Alison Goldfrapp (vocals).