Guy Pratt - My Bass and Other Animals
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My Bass and Other Animals: summary, description and annotation
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Guy Pratts life as bass player to the stars. The book behind the successful comedy show. Guy Pratt came of age just as playing bass became cool, with the likes of Paul Simonon and Bruce Foxton. Having dallied with Funkapolitan, Pratt suddenly found himself on Top of the Pops and supporting David Bowie with smooth Australian outfit Icehouse.
At a ludicrously young age Guy Pratt became a sought after bass player to the stars, finding himself crawling from studio to bar, from hotel to stadium portacabin with Robert Palmer, Womack & Womack, Bernard Edwards, Bryan Ferry and David Crosby, etc. The eighties were in their prime, and with a number of Crolla-suited appearances in windswept videos behind him, he was invited to join Pink Floyd for a series of stadium of extravaganzas to make Bono & co look fairly modest.
Pratt has recorded with Madonna, and spent time in the studio with Michael Jackson. He was in The Smiths for a week, has travelled through customs in a wheelchair after a flight with Jimmy Page, and has lived to tell all.
MY BASS AND OTHER ANIMALS emerges from the successful stand-up tour of the same name. It charts his journey from a Mod band in Southend to playing with Roxy Music at Live 8.
At a ludicrously young age Guy Pratt became a sought after bass player to the stars, finding himself crawling from studio to bar, from hotel to stadium portacabin with Robert Palmer, Womack & Womack, Bernard Edwards, Bryan Ferry and David Crosby, etc. The eighties were in their prime, and with a number of Crolla-suited appearances in windswept videos behind him, he was invited to join Pink Floyd for a series of stadium of extravaganzas to make Bono & co look fairly modest.
Pratt has recorded with Madonna, and spent time in the studio with Michael Jackson. He was in The Smiths for a week, has travelled through customs in a wheelchair after a flight with Jimmy Page, and has lived to tell all.
MY BASS AND OTHER ANIMALS emerges from the successful stand-up tour of the same name. It charts his journey from a Mod band in Southend to playing with Roxy Music at Live 8.
Guy Pratt: author's other books
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Guy Pratt
Joe Allan
Christopher Pratt
Jean Lucey Pratt
Annie Hyman Pratt
Geraldine Pratt
Pfeiffer
John Pratt
Terryl L. Givens
Mara L. Pratt
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Table of Contents
[A] wonderfully indiscreet autobiography... Pratts self-deprecating wit is irresistible, whether recounting marathon benders with Robert Palmer or a Michael Jackson session where the man himself hid under the mixing desk. But its his Pink Floyd misadventures that take first prize Mojo (four stars)
David Bowie. Pink Floyd. Bryan Ferry. Michael Jackson. Iggy Pop. Guy Pratt. Okay, so that last one doesnt exactly trip off the tongue, but if the music world has an unsung hero, its the bass player whos gigged with the stars. All the stuff youd expect from a reckless touring musician is in here: sex, drugs, egos, laughs and scandal. But its not just the anecdotes that make this a brilliant read, its the way Pratt tells it. Funny, frank, self-deprecating, with the air of someone who cant quite believe hes been there, done it and can remember most of it. Its only rock n roll, but we absolutely loved it Daily Record
A hilarious set of stories about his life as a session musician for Pink Floyd, Roxy Music and Madonna among many others. Much recommended The Word
GUY PRATT started out in eighties band Icehouse, who suddenly found themselves supporting David Bowie on his Serious Moonlight tour of 1983. Since then hes played bass with everyone from The Smiths, Pink Floyd, Michael Jackson and Madonna, through to Iggy Pop, The Pretenders and Echo and the Bunnymen. His live show was a success at the 2005 Edinburgh Festival and, when not playing with David Gilmour or Bryan Ferry, hes been on the road with it since then.
My Bass and Other Animals
GUY PRATT
Orion
www.orionbooks.co.uk
An Orion ebook
First published in Great Britain in 2007
by Orion
This paperback edition published in 2008
by Orion Books Ltd,
Orion House, 5 Upper St Martins Lane,
London WC2H 9EA
An Hachette Livre UK company
1 3 5 7 9 10 8 6 4 2
Copyright Guy Pratt 2007
The right of Guy Pratt to be identified as the author
of this work has been asserted by him in accordance with
the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted,
in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without the prior
permission of the copyright owner.
A CIP catalogue record for this book is available
from the British Library.
ISBN 978 1 4091 0590 9
This ebook produced by Jouve, France
Every effort has been made to fulfil requirements with
regard to reproducing copyright material. The author and
publisher will be glad to rectify any omissions
at the earliest opportunity.
www.orionbooks.co.uk
For Gala and Stanley
If you cant take a joke, you shouldnt have joined
Mike Pratt
INTRODUCTION
This book is not meant to be an autobiography proper, or a cautionary tale, although it does probably contain a few. Its simply a collection of hopefully entertaining, half-remembered half-truths from a carefree and rather out-of-control young life, with perhaps a soupon of middle-aged hindsight.
I started trying to write a book in 2003, as my professional life had all but ground to a halt.
I had a studio at the legendary Townhouse - legendary meaning its now closed down - but not a lot to do in it. My TV composing work had dried up, the musical Id written with Gary Kemp and Shane Connaughton had stalled, and my attempts at being a pop songwriter had been fruitless. Hardly surprising really, as to be a successful pop writer you have to genuinely like Westlife records. Apart from the odd bass session I was at a standstill.
Trawling through the dusty attic of my addled memory, I found that Id been in rather a lot of daft and amusing situations, so I set about writing them down. The only problem being that I was a lot better at telling stories than writing them, probably because telling them involves a lot less typing and a lot more shouting.
In the end I decided to try telling them in front of an audience, organizing a members dinner at the Groucho Club. This is where people buy tickets, have dinner and listen to a talk on whatever the speakers subject is - usually their new cookery book. The only problem was that half the people I was going to talk about came along.
I scanned the room, looked at my notes and thought, Cant do that one... Cant do that one... Cant do... till I thought, Sod it, if you cant say it in front of them, you shouldnt be saying it at all.
Despite being one of the most nerve-wracking and unenjoyable experiences of my life, it went down surprisingly quite well. One thing led to another, and within a few months I was at the Edinburgh Festival with a one-man show.
In the meantime, something else odd happened: I became a working musician again, landing the dream job of bassist for Roxy Music and for the reactivated David Gilmour. It seems that when you get up on a stage and poke fun at pop stars, you start getting hired again - not that those acts had much to worry about, Im not that stupid.
The next thing I knew, people started telling me I should write a book, so here we are, back where I started.
Ive tried to keep it true to the spirit of my show, meaning its about the stuff thats happened to and around me, rather than about me. I dont see the appeal of my personal life, or any of the depressing bits that are part and parcel of any life, but as a result, theres a lot thats been left out, and some of my closest friends dont even get a mention. All this book is meant to include is the funny stuff, usually involving people youve heard of, which is pretty much what Id like to hear if I was sitting round a table with anyone vaguely interesting, or not even.
Through a combination of luck, ability, and perhaps a bit of wit and charm, as well as a distinct lack of common sense or willingness to think things through, coupled with a complete disregard for my own wellbeing, a terrible fear of missing out and no idea that you can in fact occasionally say no to things, both professionally and personally, I spent fifteen years careering around the world in the company of some of the finest, daftest and most iconic musicians of the post-sixties era.
It was never my intention to be a session musician - in fact its only recently occurred to me how low an aim that is - but people I really wanted to play with just kept offering me money. Admittedly back in the eighties session musician wasnt the dirty word it is today; we were fted and sought after, and received most of the trimmings, if not all the trappings, of global pop success.
At various times during my career, I made pathetic half-hearted stabs at getting my own thing going, but in truth thats not where my heart lay. Ive never had a manifesto or the conviction to stand up and be counted as an artiste.
Most musicians are people who fall in love with music in their formative years and decide, Thats what I want to do. They then go and find like-minded people and start the next generation of bands.
I, on the other hand, fell in love with music in my formative years, but when I decided, Thats what I want to do, I meant just that. I wanted to play that music with those people. Playing Comfortably Numb with Pink Floyd, or Kashmir with Jimmy Page, getting to play Bernard Edwardss bass guitar which he used to played Good Times with him in the room and having Joe Strummer record a vocal in my house were good enough for me, as opposed to, say, starting the Stone Roses.
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