fter decades away from the music scene, guitarist Wally Stocker is back on his feet again and back where he belongs, playing lead guitar with a new lineup in The Babys. From 1977 to ’80, the group amassed a string of radio-friendly hits including “Isn’t It Time,” “Every Time I Think of You,” “Head First,” “Back on My Feet Again,” and “Midnight Rendezvous.”
A s lead guitarist, S t o c k e r provided the six- string muscle that powered those hits up the charts. Born March 27, 1953, in London, Stocker took up guitar at age nine. A passionate devotee of Free guitarist Paul Kossoff, he honed his chops in short-lived bands Joy and Pegasus. His break came in 1975, when he joined the fledgling The Babys, which included lead vocalist/bassist John Waite, keyboardist/ guitarist Michael Corby, and drummer Tony Brock. Signed to Chrysalis on the basis of a four-song video, the band released five albums – The Babys, Broken Heart, Head First, Union Jacks, and On the Edge – and toured with the likes of Alice Cooper, Cheap Trick, Journey, AC/ DC, and Rush. Wally Stocker The Babys disbanded in December, with a Les Paul 1980, and Stocker went to tour and re- goldtop in 2013. cord with Rod Stewart, Air Supply, and Humble Pie. In 2013, The Babys reunited with Stocker and Brock alongside new recruits lead singer/bassist John Bisaha and guitarist J.P. Cervoni. Last July, the band performed its first gig in almost 33 years. At age 60, Stocker’s playing is remark- ably rust-free – his trademark smoky slow-hand vibrato and chunky rhythm guitar colors proudly intact.
What was your first guitar? On top of a wardrobe in my parents’ bedroom was an old flamenco guitar that sat there for years. I used to ask my dad, “What are you gonna do with that? Can I mess around with it?” Finally, he said “Alright.” So, I bought a beginner’s book and practiced all the time. When I started, I couldn’t get the fingering right, so I put it into an open tuning where I could play the chords with one finger. I quickly realized I wasn’t going to go anywhere playing that way, so I tuned it
and learned to play properly. Solca. Alex Photo:
Vintage Guitar 90 February 2014 Who were your I get more enjoy- earliest influenc- ment in the way I es? play than being able A guy named to go up and down Lonnie Donegan, the fretboard all who performed night. skiffle music. Also, How did a Gib- Bert Weedon, who son Les Paul be- played a big semi- come your go-to acoustic on TV. guitar? Another big early After I got my influence was Hank first Les Paul, I Marvin of The was hooked. I fell Shadows. I liked the in love with the way he’d play these unique sound, the great melodies on way it feels and the the guitar. way it plays; I love When did you the tone and the get your first elec- sustain. It’s great tric guitar? for blues and lead Not until I was playing and it’s 16. I left school great for big, fat at 15 and got a chords. It’s the kind job working in a of guitar you can factory. I used to plug into any amp cycle to work past and get that tone. this pawn shop and I’ve never found I’d look at this red anything that sur- guitar in the win- passes a Les Paul, dow and say, “One and that’s why I’ve day I’m gonna have stuck with them all that!” And eventu- this time. ally, I did. It was a What was your no-name electric – main guitar in the very cheap, looked Babys? like a Strat. My A ’68 Les Paul dad had an ampli- sunburst custom. I fier he rigged as a bought it new and baby monitor for made payments my brother when every week. I used he was born. That that guitar on all was my first setup! Stocker and Babys bassist/vocalist John five Babys albums and it was my main Paul Kossoff was a big influence on Waite onstage in 1976; Stocker is playing his guitar as far as live work, too. you as a player... Les Paul Custom, Waite a Zemaitis bass. Other Les Pauls were part of your I used to go see Free all the time. I was arsenal... inspired by the sparseness in Koss’ playing of a Les Paul through a Marshall was very That’s right. I had a Les Paul Anni- and his soulful, bluesy lines. He’d work off influential on me, as well. versary model with a flame-maple top of Paul Rodgers’ vocals and know when Though I listened to other players like and double binding on the body, neck, to sit out, just leave space for everybody. Peter Green and Leslie West, I always and headstock, and gold tuners with I applied that approach later with The came back to Kossoff. Rhythm wise, I chrome-plated keystone buttons; the Babys. I realized that sometimes less is also liked Keith Richards, Chuck Berry, silver represented 25 years of the Les more. and Eric Clapton, especially his work in Paul and the gold represented 50 years You can hear the impact of Kossoff’s Cream. I also really liked Steve Marriott’s of Gibson; even the tuners were half and vibrato on your work. solid rhythm playing and great riffs in half. I got that from the Gibson factory in It was just so unique, bending in and Humble Pie. 1978. I also had a black Les Paul Deluxe out of notes; a lot of guys were relying on How would you define your approach from the mid ’70s with cream P-90s, and the vibrato arm to get that sound, but he to playing guitar in The Babys? I had a Les Paul Standard from the early had it down. He was playing guitar like a I go for a less-is-more approach. The ’70s. For a short time in ’78, I was also violinist would do vibrato on a violin. Koss Babys were very blues-based. We liked playing a Cherry Red Les Paul Junior I had this lovely richness to the vibrato, the same kind of bands. Sometimes, I got from a roadie friend. I don’t think I and everything Koss played was tasty and look at other guitarists and go, “Wow, I played it live; I used it in the video for
Photo: Brian Cooke, courtesy of Mark Perkins. V. soulful; and that straightforward sound couldn’t do that in a million years,” but “And If You Can See Me Fly.” As far as
February 2014 91 Vintage Guitar live shows I’ve played nothing but Gibsons muscular rock like “Head First” with pecially, your guitar sound was huge. throughout my career. orchestral, soul-tinged pop a la “Isn’t How was that accomplished? Do you still have those guitars? It Time.” What were the challenges you I refused to use an electric doubler. I’d No, sadly they’re all gone. They’re the faced working within those two styles? go back in and play off the first guitar and tools of my trade. But because I’ve been I welcomed the challenge. It made strengthen the part that way; maybe I’d out of the circle for a while, sometimes recording even more interesting and change the tone. I’d want to make sure you’re forced to sell something you really enjoyable. When the guitar isn’t the the guitars were rubbing a little bit and don’t want to part with. I’ve had some main feature in songs like “Isn’t It Time,” not be completely in sync, which gives it beautiful instruments through the years. you’ve got to invent a part that will fit in a much bigger and fatter sound. My guitars were an investment and if I but maintain the style you wove into a Which Babys song do you think best could have them all back, it would make heavier track. showcases you as a player? for a wonderful collection. Do you employ a different approach, “Dying Man,” from our first album. Now that you’re in the market for playing guitar in the studio versus a There was all kinds of room in that song new guitars, what has caught your eye? live show? for me to stretch out, and I remember Gibson is putting out a limited edition Yeah, you start with your basic sound, John (Waite) and I going into the studio replica of Paul Kossoff’s main guitar but you have the freedom to experiment together. As he was laying down a vocal, which he used in Free with the finish miss- a little more with other tones to embellish I was next to him doing a guitar track, ing and scratches and dents. They’re also the track you’re working on. Recording and we were just playing off of each other. putting out a new model based on Koss’ is like painting by numbers; you layer a Another one I like is “Laura” from the ’58 Les Paul. That looks like a wonderful track like putting a jigsaw together. I liked first album. Our producers, Bob Ezrin guitar and I’ve got my eye on that one. the way Jimmy Page would orchestrate and Brian Christian, said, “Why don’t It would come full circle if I was able to guitars and incorporate sounds, and that you go off and work out a solo as opposed play something like that. had an influence on me. to playing something off the top of your The Babys’ musical template mixed On Head First and Union Jacks, es- head? We need something different on this
Stocker in ’76.
Vintage Guitar 92 February 2014 song.” I went off with the right. John Waite decided track and sculpted a solo, he didn’t want to do it and and it worked really well. wanted to focus on his solo Characterize your ap- career, and we respected proach to crafting guitar that. We found John Bisaha, solos in The Babys. who plays bass and is a great The producer would say, lead singer, and we also have “We’ve got six empty tracks. a second guitar player, J.P. Lay down six solos, come Cervoni. back and listen, and we can Back in the Babys first go- take what’s best.” My solos round, Michael Corby and, were all kind of short and later, Jonathan Cain, played sweet and to the point – they keyboards and guitar. So, had to say something, but it if Michael or Jonathan was didn’t have to be very long. playing keyboards, there It just had to build and be wouldn’t be second guitar, melodic. The solo in “Love so that limited me to play- Don’t Prove I’m Right” is ing more rhythm during short and sweet. I’ve always shows. But, a second guitar liked the solo in “Run to player frees me to play some Mexico” and “True Love, of the licks on the original True Confessions”; which records. It’s exciting to have weren’t overplayed. They a second guitar in the band, were just enough, and that’s along with keyboards. the way I like it. The band recently What were you using for played its first gig in nearly amps, strings, picks, and 33 years. What was that pedals? like for you? For me, it’s Marshall It was very emotional, amps all the way. I used a exciting – and stressful Marshall 100-watt Super (laughs)! As soon as we Bass head on all the albums, walked on, I felt I’d gone then later bought a Marshall back in time and I could Super Lead, and finally a feel the tension fall away Marshall with Master Vol- as we started the set. It felt ume. As for strings, I had a like, “This is where I belong, deal with Dean Markley. I (ABOVE) Stocker with a natural-finish Les Paul. (BELOW) Stocker in ’79 with the Les playing the old songs again.” had custom gauges – .010, Paul Anniversary model he acquired directly from Gibson in ’78 with a flame-maple top. It was something I never .011, .014, .026, .036 and really thought was going to .042. Picks? I used medium come around. plastic Herco picks. What’s the most useful The pedals I used live piece of advice you could were my trusty Roland CE-1 offer budding guitar play- chorus – I liked the warmth ers? of that pedal, plus I could All the people who influ- run it in stereo. Instead of enced me were players you plugging straight into the could pick out of the crowd amp, it would round off my by their style and sound – sound and give it a nice tone as soon as you heard them with that slow chorus, close playing, you knew it was to a Leslie effect. It had a Eric Clapton or Jeff Beck lot more high-end and less or Jimmy Page. That’s what growl. I always tried to achieve. I Now, I use a Boss Chorus developed my own style and along with a Boss Delay. tone. I’d suggest they don’t How did the Babys get caught up in multi- reunion come together? effects and hammer-ons, Tony (Brock) approached because you don’t want to me last year about reunit- sound like two dozen other ing. We’d gone back and players. Concentrate on forth through the years being unique, as opposed
Photo: Vernon Marks, courtesy of Mark Perkins. V. and this time it finally felt to one of the crowd.
February 2014 93 Vintage Guitar