Louis Johnson by E.E

Thumbs Of Lion EL DEC o Thunder SA BY CC STER The Hard-Hitting Legacy Of Louis Johnson By E.E. Bradman 22 bassplayer.com / september2015 Johnson with Leo Fender The Ernie Ball Music Man In an era saturated wIth StingRay: monstrously influential players, Louis Early Days Johnson streaked across the sky as few others did. With a wide array of techniques at his By JOnaTHan Herrera command, a signature tone, and unmatched intensity, Johnson managed to balance ridic- Few players are more ulously successful, concurrent careers as a associated with a bass than Louis Johnson and his Music Man StingRay. The kinship went beyond versatile studio musician at the top of his a visual aesthetic—the StingRay’s uniquely bright, slightly scooped tone was a driving force behind game and an in-your-face bass superstar. Johnson’s kinetic and pioneering slap style. We asked a handful of experts about the development of As a session wiz, Louis contributed classic the StingRay and Johnson’s involvement: Sterling Ball (CEO of Ernie Ball Music Man), Dudley Gimpel bass parts to albums by a long list of jazz, funk, (head of Ernie Ball Music Man R&D), and Music Man collector Dave Jeffrey. R&B, fusion, pop, and rock luminaries. As a certified bass hero, Louis—known around the What were Leo Fender’s and Tom White’s goals with the StingRay bass? world as “Thunder Thumbs”—was the catalyst Sterling Ball Leo was hard of hearing, so he liked a bright sound. Bright sounded normal to him. that inspired a million thumpers: Even in the Leo was happiest with the design of the pickup and bridge. My godfather, Tommy Walker, designed ’70s and ’80s, when thumpin’ was the law of the the preamp. He was one of Fender’s earliest sales reps and a self-taught electronics genius. When they land, Louis’ aggressive technique put him in a got to the R&D phase, Tommy would bring in me and some friends to play the stuff and report back. league of his own. And along with his guitarist Since I had grown up around Leo and Tommy, I wasn’t afraid to tell them what I really thought, and brother George in the Brothers Johnson, he ruled Leo was such a country & western guy that the perspective the late ’70s and early ’80s R&B charts, enjoy- of a young rocker like me was important. ing platinum albums and chart-topping singles. What set the StingRay apart from other basses when When Johnson, 60, died of liver failure in it debuted in 1976? May, fans and peered immediately eulogized Dudley Gimpel The StingRay was a milestone in the him. Victor Bailey called Johnson a “supernova” industry, especially because of its 2-band active electron- and gave him props for his intensity, musical- ics. It changed the way people perceived the sound of bass ity, and “astronomical” studio credits. Nathan guitar and inspired a whole new genre of bass technique. The East put him “right up there as one of the most preamp was designed for low power consumption—you could important bass players of our time.” Bootsy leave it plugged in for days and still have a good battery. The Leo Fender with many of the other Collins tweeted, “Another brick in our music active circuitry eliminated the loss of high frequencies over folks behind the StingRay bass foundation has left the building.” Legendary long cable runs. producer Quincy Jones, with whom Johnson Dave Jeffrey The first preamps had some problems with had enjoyed dazzling career highlights, called “motorboating,” but Leo changed to a new manufacturer in ’77, and that solved it. Music Man epox- him one of the greatest bass players ever to ied the preamp to prevent reverse engineering. pick up the instrument. How involved was Louis Johnson in the development process? Sterling Ball Louis visited the factory a lot and was a very important artist for Music Man, but Brother To Brother the bass was already designed when he discovered it. It was George, in fact, who introduced Louis Dudley Gimpel In conversation with Tom Walker, Louis Johnson’s name came up often as a key to music. When George was five and Louis was player in making the bass popular. His style and the sound of the bass were such a perfect match. three, they shared a guitar until, at George’s How has the single-pickup StingRay evolved over the years? request, Louis got a bass a few years later, a Sterling Ball After Ernie Ball acquired Music Man in 1984, we took a look at the original Music “big ol’ old-fashioned Gibson that was bigger Man hand-wound pickups, and they were all over the map; some were hot, while others were soft than he was.” Louis remembered being inspired and smooth. Dudley and I identified a standard and manufactured the pickups with tight tolerances. at age six by the sound of the Mexican guitar- Dudley Gimpel The StingRay is known for its large polepiece magnets and dual-coil humbucking rón near their Los Angeles home. Their first design. Early StingRays had magnets that were both large in diameter and long, requiring holes milled band, Johnson 3+1, included older brother into the body to ensure a good fit. The magnets were so strong they interfered with the strings’ vibra- Tommy on drums and cousin Alex Weir on tion. We subsequently shortened the magnets to eliminate this problem. guitar, and they absorbed Chicago, James Contemporary StingRay pickups are made to the same spec as the originals, although we’ve Brown, Led Zeppelin, Jimi Hendrix, and Sly improved the finish on the Alnico V polepieces, removed the sharp edges, and made them more uni- & the Family Stone; Motown, of course, was form. We also wind the coils in opposite directions, maximizing hum-cancellation and resulting in a at the top of their list—when they took turns parallel-wired pickup. Subsequent changes, like the trussrod adjustment wheel, 6-bolt neck mount, singing lead, Louis handled the Stevie Wonder 3-band EQ, compensated nut, and more have only served to improve on the original design, without vocals. After some regional success—includ- interfering with its special sound. ing a hit single, “Testify,” produced by Bobby bassplayer.com / september2015 23 CS LOUIS JOHNSON Lion EL DEC o STER CC BY SA BY CC STER Womack—Johnson 3+1 effectively broke up when C, passed by and heard all this funk jumpin’ out of George went on the road with Billy Preston in 1968. Studio B. Quincy peeked his head in, whispered into But in 1971, Preston’s bass player quit suddenly just Stevie’s ear, and then left. About ten minutes later, as the band was leaving for a Canadian tour. Louis two guys dressed in black came and took us back to was still in high school, but George convinced their the studio where Quincy was. We walked into C and mother to bring him to the airport to meet Preston realized that Q had the biggest room at the Record and get on the plane. Plant, with flowers and baskets of fruit, and all I “Billy didn’t know I had been teaching Louis the thought was, We’re supposed to be here.” set whenever I was home off the road,” George says. Thus began one of the great partnerships in pop “We get to our first soundcheck, and we see Sly Stone music. The brothers immediately brought their song- and Freddie Stone there, just to see Billy. After the writing magic and instrumental prowess to Jones’ first song, Billy looked over at me and said, ‘He’s Body Heat [1974, A&M] and Mellow Madness [1975, great!’ During the show, Billy’s sticking his chest A&M], and Louis became one of the core members out, because Louis and I were his Larry Graham and of Q’s production team; in 1975, Louis appeared Freddie Stone. And all of a sudden, I turn and see on albums by Herbie Hancock, Bill Withers, Gabor Sly and Larry groovin’ on the side to me and Louis, Szabo, Airto, Bobby Womack, and Grover Washing- which made my day.” ton Jr., marking the beginning of what would be a By 1973, the brothers were back home, writ- highly successful studio career. ing and working on ideas. Louis later remembered The brothers also joined Quincy’s studio and stage that legendary producer Quincy Jones had gotten orchestra despite being unable to read the charts. in touch after hearing a demo for Chaka Khan’s “We had to learn all the complicated things he did sister, Taka Boom, that he and George had played in his show real fast,” says George. “At rehearsal, the on; George recalls meeting Jones at an audition for musical director came through to check everything Stevie Wonder. “I was at the Record Plant because before Quincy arrived. When he got to us and saw I had just met Stevie, and I wanted to join Wonder- our sheet music, he started laughing: ‘These guys are love,” he says. “Louis and I met and played for him, so bad that they can play this shit upside down!’” and Quincy, who was around the corner in Studio On tour in Japan, Louis got to hang with the 24 bassplayer.com / september2015 CS LOUIS JOHNSON great jazz bassist Ray Brown, who was also with Quincy. “He would stand off in George, and the 21-year-old singer of the Jackson 5. the wings and watch when I was playing,” Louis told Bill Gibson in an extensive “Michael was a big fan of the Brothers Johnson and interview for Q on Producing [Hal Leonard].

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