Carl Radle

Regarding a non-British player from the early 1970's, flatwound strings usually a safe assumption, and LaBella is a reasonable assumption for the brand.

 

I think the only interveiw I ever saw (Guitar Player Magazine around summer 1977) said he was using Ernie Ball flats. This was right after he got his first StingRay (in the interveiw he talks about a new bass coming out that combined the features of the his Fender and his Alembic). Ancient first-style GK amps (way before the 400 or 800 R series) too.

His main bass on the recordings before 1977 was a Precion with a Jazz bass (rosewood, blocks 'n' binding) neck.

jte

 

I just recently listened to the entire Derek n Dominos album. I had never heard of Carl. Man, he was great! Plus he was from Tulsa (near me) which is cool too! Great player, great band.

 

Carl Radle was a big hero of mine, as I grew up in NE Oklahoma...Great player...great vibe...and tone...

 

Thomastik Infeld Jazz Flats.

 

If Carl Radle cut through with a P Bass and flats, so can you. It is eq that will do it. Lots of mids. No scoop.

I don't think "cut through" when I think of P Bass with flats. More like "sit perfectly in".

Radle used Stingrays quite a lot, perhaps that is where the "cut through" comes from. Even with flats, a Ray will cut through.

 

For the classic sound, Labellas all the way, baby.
But Chromes are great strings and are a little more versatile.

You're on the right track--all the talk of "cutting through" with bass misses the whole point--you want to "sit in" as jasper says, or find your "spot" in the mix. That's why half the time rock players who keep goosing up the mids and highs to cut through guitars end up with an indestinguishable mess of a tone (but with lots of perfectly audible string noise. Too many other things are occupying those frequencies already in the guitars, keys, whatever. But there's plenty of low-freq territory to stake out for your very own.

 

Carl Radle... now there's a name I haven't heard in a while.

Great groove player, creator of many memorable bass lines, but in my mind one of the best bassist-drummer collaborations with drummer Jim Gordon. Both were well-established session players, but together were always a great lesson in how the bass-drums groove can make the song.

Unfortunately, Jim Gordon cracked one day and killed his mother with a hammer. Last I heard, he's drawing pretty crayon pictures in an institution. But they can't take away his legacy. I wish him well.

Dave

 

Jim's drawing crayon pictures that is.... not Carl.

He could never draw worth a crap, but man could he play...

 

Gotta chime in for Carl Radle. Great player, great groove, tone. I believe he played bass on JJ Cale's "Naturally" album too. Before I knew the name, I liked the feel of the playing. Kind of like Jamerson and David Hood in that way.

 

Oh yeah, I don't know what strings he used. Sorry to go off topic.....

 

Carl Radle...Great Bass player ! Every Bass player should take a listen to him. Flats for sure with a solid feel and great tone.

 

Jim Gordon...I remember a few months ago, someone on Gearslutz was trying to get everyone to sign a petition to get Jim Gordon released at his next parole hearing. What kind of insane person wants a guy who kills his own mother released from prison? I don't care if he co-wrote "Layla" or not.

Anyway, back on topic...what a shame that Carl Radle caused his own untimely death. He was by far one of my favorite bassists and had a brilliant way of overplaying so you didn't notice he was overplaying.

 

What a great description of Carl's playing!! I started playing bass after a few years of being an annoying guitar student. I'd spent days with "Layla", "The History of Eric Clapton", and Clapton's first solo album (the one with "Slunky", "Let It Rain", and "After Midngiht" on it) on my turntable non-stop. When I started playing bass all those Carl Radle parts were percolating in my mind (along with Jack Cassady, Berry Oakley, and Jack Bruce). I started gigging in a country band in 1976, and they kept telling me I was playing too many notes. Now compared to those guys, I felt I was being a real simple and direct bassist....

Carl's sound and touch on those Clapton things, especially his feel with Jim Gordon was the first time I realized the power of the bass/drums connection. The live Delany & Bonnie record with Clapton was a pivotal point for me.

jte