Igginbottom: Difference between revisions
From Allan Holdsworth Information Center
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'''Igginbottom''' was a rock group from Bradford. The lineup was: | [[File:IgginbottomCover.jpg|right]]'''Igginbottom''' was a rock group from Bradford. The lineup was: | ||
*Allan Holdsworth: guitar and vocals. | *Allan Holdsworth: guitar and vocals. | ||
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*[[Dave Freeman]]: Drums | *[[Dave Freeman]]: Drums | ||
The band recorded one album, [[Igginbottom's Wrench]] in 1969. | The band recorded one album, [[Igginbottom%27s_Wrench_(album)|Igginbottom's Wrench]] in 1969. | ||
=Summary of quotes on Igginbottom= | |||
Allan Holdsworth's involvement with the band Igginbottom marked an early phase in his music career. Igginbottom was a local Yorkshire band, and their 1969 album "Igginbottom's Wrench" was Holdsworth's first commercially released album as a leader. The band's music was a blend of mildly psychedelic and jazzy-pop styles, quite different from Holdsworth's later signature sound. | |||
At the time of recording "Igginbottom's Wrench," Holdsworth had been playing guitar for only a few years and was largely self-taught. Despite his modest assessment of his skills, his distinctive talent as a guitarist was already apparent. The recording process for the album was challenging, as engineers were reluctant to turn up the amplifiers in the studio, making it difficult to achieve the desired distorted guitar sound. | |||
Although the band Igginbottom didn't perform live gigs and primarily focused on rehearsing, they managed to secure a recording contract with Deram Records, thanks in part to their innovative approach to guitar playing and chord voicings, even though their playing abilities were still developing. Despite Holdsworth's mixed feelings about the recording, "Igginbottom's Wrench" remains a noteworthy milestone in his early career, reflecting his early experimentation and musical explorations. | |||
''[This summary was written by ChatGPT in 2023 based on the quotes below.]'' | |||
=Quotes on Igginbottom= | |||
==[[Allan Holdsworth: A biography (Atavachron 1994)]]== | ==[[Allan Holdsworth: A biography (Atavachron 1994)]]== | ||
Holdsworth’s early career was frought with desperation and dry spells, and from his late teens through his mid-twenties music was a mostly sporadic venture and hobby; he supported himself primarily repairing bicycles during this time. His first known project as a leader was a low-budget project recorded in 1969 on the Decca label with a few of his local Yorkshire friends-the band’s name was '''Igginbottom''', and the music was derivative of the psychedelic rock fashionable at the time-yet even then, the origins of Holdsworth’s prowess and vision as a guitarist were readily apparent. Veteran British jazz saxophonist Ray Warleigh who travelled frequently around the country, was actually the first professional to "discover" Holdsworth. Warleigh, who played in a large, state-supported dance-hall band (as did some of the other members of '''Igginbottom'''), was instrumental in introducing Allan to the London clubscene. At the time, Holdsworth’s major influences were a wide range of American jazz greats - in particular Benny Goodman’s guitarist Charlie Christian and saxophonist John Coltrane-and in particular the psychedelic, bluesy hard rock of Cream. | Holdsworth’s early career was frought with desperation and dry spells, and from his late teens through his mid-twenties music was a mostly sporadic venture and hobby; he supported himself primarily repairing bicycles during this time. His first known project as a leader was a low-budget project recorded in 1969 on the Decca label with a few of his local Yorkshire friends-the band’s name was '''Igginbottom''', and the music was derivative of the psychedelic rock fashionable at the time-yet even then, the origins of Holdsworth’s prowess and vision as a guitarist were readily apparent. Veteran British jazz saxophonist Ray Warleigh who travelled frequently around the country, was actually the first professional to "discover" Holdsworth. Warleigh, who played in a large, state-supported dance-hall band (as did some of the other members of '''Igginbottom'''), was instrumental in introducing Allan to the London clubscene. At the time, Holdsworth’s major influences were a wide range of American jazz greats - in particular Benny Goodman’s guitarist Charlie Christian and saxophonist John Coltrane-and in particular the psychedelic, bluesy hard rock of Cream. | ||
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AH: It was really funny…we did a couple of demos, the same band, that turned out really good, because we did one at Matthias Robinson Studio and he was the guy actually who designed the Matt Amps - which became popular or later became known as Orange amps - and he had a recording studio at his house and we played loud - and obviously it was right, but, haha, it should have never have been recorded really. It was - we were not anywhere near ready to have that happen to us. | AH: It was really funny…we did a couple of demos, the same band, that turned out really good, because we did one at Matthias Robinson Studio and he was the guy actually who designed the Matt Amps - which became popular or later became known as Orange amps - and he had a recording studio at his house and we played loud - and obviously it was right, but, haha, it should have never have been recorded really. It was - we were not anywhere near ready to have that happen to us. | ||
==[[Patron Saint (Guitar Player 2004)]]== | |||
At what point did you realize that achieving the ideal of horn-like tone would require a different approach than that of the other players who were searching for the same thing? | |||
Actually, I learned that really early on. I think this is going to make a lot of people laugh, but, early in my career in the '60s, I was playing with some local band, and we had an opportunity to go into the studio. I had an AC30 and a Gibson SG, and I used to like to turn up the amp until it was right at that point where it would get real throaty and fat, but without a ton of distortion. So we started playing, and the engineer came in shaking his head saying, "No, no, no. This is all wrong. You turn the amp down, and we turn it up in the control room." And I'm screaming, "No, you don't understand. I want you to record this sound." This would go on for hours, and it would drive me crazy. I couldn't figure out why I liked my sound at gigs, but hated it every time it was recorded. Horrible. | |||
==[[The Man Who Changed Guitar Forever (Guitar Player 2008)]]== | ==[[The Man Who Changed Guitar Forever (Guitar Player 2008)]]== | ||
