Dave Bronze Interview | robin-trower

Dave Bronze interview

"...... and on bass guitar....... the wonderful
Mr. Dave Bronze"

   The opportunity for me to do this interview came about through a friend of Dave's and was a great surprise!
   I knew of Dave's work with Robin and always thought he was an incredible bass player and even a pretty good lead vocalist as attested by Robins "Beyond The Mist" album in 1985. I also felt the writing collaboration of Trower & Bronze resulted in some of the finest tunes Robin had done.
   I was familiar with Dave's playing with the great Eric Clapton on the album "From The Cradle" and also was aware that he toured for a few years with him.
What I was not aware of, was just how extensive Dave's background was. Thanks to Dave's friend Chris, who sent me an unbelievable amount of information, including numerous articles, interviews and several compilation CD's of some of the bands and individuals Dave has played with over the years, I was given the opportunity to really get to know the history of this truly talented and versatile musician. Needless to say I was totally bowled over by some of the information...
Dave has been a professional musician since 1976 and besides playing bass and singing, he is also an accomplished writer and has produced a number of albums. Just to give you an idea of who Dave has performed, recorded and/or collaborated with over the years, I found Dave's name associated with the following:

Robin Trower / Eric Clapton / Dr. Feelgood / Sting / Duane Eddy / Procol Harum / The Hamsters / Chris Farlowe / Gary Brooker / Be Sharp / Phil Collins / Jeff Beck / Stuart Copeland / Bo Diddly / Roger Daltry / David Gilmore / Mike Rutherford / Steve Windwood / Mickey Jupp / Paul Carrack / Belinda Carlisle / Brian Ferry / Tina Turner / George Harrison / Ray Davis ..... to name but a few!

   Dave was also voted British Blues Connections 2000 Bass Player Of The Year!
   So when I started really getting into this stuff and reading all these names and listening to some of the diverse music that Dave has been involved in, I had to rethink how I wanted this interview to go.
I was totally knocked out by Dr. Feelgood! I started reading all the stories on the net about this band. There is a touching story that we will get into later in the interview. Bands like Be Sharp and many others, all different and yet all benefiting greatly by the contributions of not only solid imaginative playing, but the writing and producing aspects of what Dave brings to the table!
   Then there is Eric Clapton........ it had been a while since I listened to him play guitar, and like most guitarists from my generation, grew up learning "White Room" and of course "Sunshine Of Your Love".  The Eric Clapton!.... I was looking at some pictures of Dave on stage with Clapton and listening to a few live cuts..... he is still such an amazing guitarist!
   Anyway, for the past several weeks I have been listening to and enjoying a variety of music that I was not familiar with prior to conducting this interview. I listened to a couple of live recordings and was just so impressed with how solid Dave is, and while I have never seen Dave play live, I could almost feel the smile that had to have been on his face as he was playing.... very fresh and very sure of what was coming from his guitar.
    I heard all kinds of different sounds, different styles and Dave was "on" for every one I heard. From Procol Harum's "Repent Walpurgis" ( from the CD "The Symphonic Music Of Procol Harum"), to an excellent version of "No Time" by Be Sharp, to the straight forward R&B sounds of Dr. Feelgood,to the solid R&R of Mickey Jupp! Just an incredible array of really great music. I have truly enjoyed hearing all these great artists and listening to the one common thread in all of it...... Mr. Dave Bronze.
   Dave has just finished touring the U.S. and is currently on tour in Europe with Eric Bibb, an acoustic folk/blues singer/guitarist and fortunately for us, happens to carry around a laptop so we could do this interview via e-mail.

SS : Dave, first let me thank you for taking the time out of your very busy schedule to sit down and "talk" to us for my web site. I know that there are a lot of people who have been wondering what you've been up to.

DB : It's a pleasure! I am somewhat surprised anyone is even slightly interested in what I'm doing! At the moment I'm juggling with producing my 3rd album for Eric Bibb in between trying to fit that into our very busy touring and gigging schedule. I'm towards the end of a short tour of Germany, Switzerland and Italy. Then it's back to the U.K. to finish and mix the record
ready for release sometime in May/June.

* Dave was born in 1952 in the town of Billericay, England and grew up in the town of Stanford-le-Hope, a small Essex town further down the Thames towards London.

SS : Do you remember what your first introduction to music was?

DB : Well, I remember as a kid of 4 or 5, two of my uncles were in a skiffle group, and I vaguely recall sitting in the corner of my grandmothers living room watching their rehearsals, in my Davey Crockett hat....really! :-).
Then I remember sitting by the juke box at my father's working man's club driving everyone mad by repeat playing all the Shadows records (A & B sides) all evening. After that I was just a real music fan until my teens, when I actually started messing with harmonica after discovering Captain Beefheart.
At the time it was the only instrument I could afford.

SS : It was during your later years in school that the opportunity to become a musician came about. Can you tell us the events that led up to you actually
picking up your first bass guitar?

DB : Someone at school said they needed a bass player for their band, and was I interested. I protested that although I would love to join, I didn't actually own or know how to play a bass. He simply loaned me a bass and I was in the band the next day. That band eventually became The Rolling Stones.....
just kidding ;-) The band never did a single gig! I did however go to my uncle, Johnny Andersen (one of the two uncles in the skiffle group) for a couple of bass lessons.

SS : So just out of school, we find you playing the local clubs and also playing on jingles for a local writer, but as with most young musicians, you are also working during the day to make a living. You were working at Guys Hospital in London studying to be a Medical Engineer. You kept up this frantic pace of playing at night with a band I think was called "Glyder", who had
some minor successes and you were working during the day until what event took place?

DB : Not quite accurate. I was indeed working full time and raising a family while gigging in the evenings. This lead to the jingle work you mention. "Glyder" was my first pro gig. They were a heavily funded Warner Bros.
project and doing all the big TV shows and stuff. They fired their bass player, and one evening they all turned up at my front door and offered me the gig after seeing me play around town. (they were mostly local lads).

SS : You were also married at this time and had a child?

DB : I was, and had a 2nd child on the way!

SS : How long have you been married?

DB : 25 years.

SS : How many children do you have ?

DB : 2

SS: Any musical aspirations from your immediate family?

DB : My daughter is a very gifted singer and dancer, and sensibly enough is not pursuing it as a career. She's much too smart for that!

SS : Ok, stepping back again... now you had left the medical studying and after your last band ended you found yourself working as a guitar repairer at Tim Gentle's Music in Southend. It was here that you first met Mickey Jupp. Tell us what happened that got the two of you playing together?

DB : Well, in time honoured style, the day job in the music shop was to help finance the musical career. I actually knew Mickey before, as he also worked in another local music shop! He was also a bit of a local hero. He came into Tim's shop where I was working one day to buy strings. We were chatting over a coffee when he said he was about to go on tour in Europe and didn't have a bass player, so I volunteered. That was it!

SS : You made this statement about playing with Mickey...
"When I joined Mickey Jupp, I already knew how to rock, but he taught me how to roll!" What was it that you learned from the few years you played with him that had such a lasting impact on you?

DB : It's more or less as I said. There is a very elusive and beautiful roll in well played Rock 'n Roll and R&B, that is not always obvious to fledgling players. Mickey has it in aces, and that was the first time I was exposed to it full on. It was a most important period for me. Incidentally, I recently played with Mickey again on a one off gig in Southend. 1st time for about 15 + years!
The guy is still awesome!

SS : I believe Robin played on and produced one of Mickey's albums which also featured Gary Brooker (Procol) and Bob Clouter on drums (Bob was also the drummer on Dave's first Trower release "Back It Up"). Did you know Robin at this time?

DB : I did not know Robin personally 'til a bit later on.

SS : So after a few years and the album "Oxford", your tenure with Mickey ended and you found yourself back doing session work, playing on jingles and also working at Tim Gentle's music shop when, during a conversation with Robin's younger brother Brad Trower, you learn that Robin is looking for a bass player. What happened next?

DB : Actually Brad Trower was also working in Tim's shop at that time. I was also playing in a local band with him. The band was called "The Old Pals Act" and featured Brad on guitar, Bob Clouter on drums, Ian Gibbons (of The Kinks) on keys, and Barry Martin (later of The Hamsters) on guitar and vocals. (Beginning to see the links?????) It was during this time that Brad suggested to Robin that he should check me out. (I think!)

SS : I just have to ask this question.... Brad Trower on the guitar!... thinking back, were there any similarities in playing styles between Brad and his older brother? I had no idea that you were in a band with Robin's brother. I'm sure most people reading this will be surprised about that little known bit of info! Also, what type of music was it?

DB : I think it's fair to say that Brad had taken a few things from Robin, but he was a very competent player in his own right. The band was a covers band. ZZ Top, John Hiatt, blues, R'nB etc. Basically an early version of the Hamsters, only better.

SS : I also read somewhere that around this time you got to meet Paul McCartney. What was the occasion?

DB : I was working as a session player on a project in a studio on the south coast of England. We were routining material in a small room off the main studio. Paul was working in the main studio. Suddenly he walked into our room and asked to borrow a pair of drumsticks! We all froze. A bit later I was making myself a coffee when in walked Linda, followed by Paul. They both started chatting to me and were very friendly and normal. Then Paul just invited me to go in to the control room and listen to the tune he was working on. Somewhat staggered, I walked in and there was George Martin, the McCartney children and a few other people. It was a most unique experience.
He played me the song, I said "Great man" and we all got on with our lives.

Now just to back it up (no pun intended), I want to
mention where Robin was at just before Dave started to
work with him, as this was a major turning point in
Robin's career.. IMHO.
After the album and touring for "Victims Of The Fury"
was over, a change occurred and Robin and Jimmy
Dewar went their separate ways for a while. Robin,
wanting to try something different, teamed up with
ex-Cream bassist Jack Bruce which resulted in two
releases (B.L.T. with Bill Lordan on drums and Truce
with Reg Isidore who was the drummer on Robin's first
two albums). While both albums had their moments,
the Trower/Bruce collaboration was not working out.
Robin and Jimmy got back together again and the
result was "Back It Up". While Jimmy played bass on
two of the tracks, once again the band called in a new
player to handle the bass lines... Dave Bronze.
(Big thanks to Brad Trower!!)

SS : How were you approached going in to the initial recording with Robin? Was this a full time thing or were you brought in strictly for the album?

DB : At that point it was strictly a one off album project. I went round his house and jammed with him in his living room. He seemed to dig it, and eventually I was asked to do the "Back It Up" album.

SS : Were you familiar with Robin's music?

DB : I was obviously aware of "Bridge Of Sighs", "Too Rolling Stoned" and the biggies, but I confess that I was not an aficionado of Robin's music.

SS : As Robin had been touring for a number of years, did you ever catch any of the shows in England?

DB : No, but I had seen him on TV.

SS : How did the initial first few sessions feel, being you were the new kid? Was it awkward, or did you fit right in?

DB : Naturally I was very nervous, but I got on with it I guess.

SS : The "Back It Up" album brought to a close the brilliant writing team of Jimmy and Robin, who together, were the core of what most Trower fans
identified with as the music of Robin Trower. Do you recall any moments from these sessions that made you aware of the huge impression these two had made in the music world. I ask this because you were there to witness the, for lack of a better analogy, the "Let It Be" moment.

DB : This is a difficult one. I think I was too wrapped up in trying to make a good impression to get all philosophical. Also this was about 20 years ago, my
brain cell is not what it was. But I do remember the feeling of awe the first time I heard Jimmy sing!

SS : So after "Back It Up" was completed, how did it come about that you were going to stay and work with Robin?

DB : I heard nothing for quite a while. Then Robin called and said he wanted to play a bit, and we got together in a small rehearsal studio and jammed for a few weeks. Then he got an offer of a US tour. At the time no singer was involved, so he said I'd have to do it! I had never had any aspirations of this kind and was mortified. But I agreed to give it a shot. To this day I kind of regret having agreed to do it, as I knew I was not a great singer. It caused me serious confidence problems for years afterwards. In fact, it was many years after I stopped singing with Robin before I would even agree to contribute backing vocals on stage with anyone.

SS : I had read a few comments you made as far as how you really did not want to sing lead vocals but since there was no one else at the time, you were willing to try it. Following a singer like Jimmy Dewar, especially when doing the "classics" during your touring of the U.S., it would put doubts and fears in the minds of the very best of singers. The fact that you were willing to take on the challenge of stepping up to the mic tells us a lot of who Dave Bronze is. I must say though, I specifically remember hearing "Beyond The Mist" for the first time, and I liked the vocals! I personally preferred the cleaner sound of your vocals over the previous two releases with Jack Bruce. No criticism intended to Jack, but I didn't feel his type of vocals complimented Trower's sound. On the song, "Keeping A Secret", I felt you did an excellent job on vocals and believe me, I am not just saying this because you're the singer we're talking about. In my opinion the vocals on "Last Time" and especially "The Voice", suited the songs perfectly. After I had read that you did not like handling the lead vocals, I was more impressed by the courage
displayed to go through with it! Also, FYI, the "Beyond The Mist" CD is the rarest release around and I have seen copies sell on Ebay's auction site for as much as $300.00 U.S.!

DB : Well, I don't really know what to say! It is not an exaggeration to say that I was never comfortable as a lead vocalist, especially as you say following someone like Mr. Dewar! I really admire the greats like Jimmy, Donny Hathaway, Otis, Aretha et al. In my opinion you are either born with a great voice or not, and I sit firmly in the latter camp! I'm not necessarily talking about being in tune and stuff, I mean SOUND! You can't really learn that. (Believe me, if it were possible I would have done it by now!)

However, it is really nice for me to know that some people actually got something from my efforts. I gave it my best shot!

SS : And your best shot was commendable... so was this your first time touring North America?

DB : Yes it was. In fact, there is an interesting link to the previous question. Our first show, and therefore my first show ever as a vocalist, was in Palo Alto. The first song was, (I think) "Rock Me Baby". Bearing in mind my reservations regarding my singing abilities, and definitely not seeing myself as a blues singer, imagine this: I was just psyching myself up in front of a packed house. I glanced over to stage right at Robin. In the wings just behind him stood............. John Lee Hooker! I would have given several years of my life if the stage could have opened up and swallowed me whole.

SS : I can imagine!!... How did the U.S. shows differ from playing shows in England or Europe in general?

DB : The audience seemed somewhat more wild and enthusiastic.

SS : I have read numerous interviews with different artists who say that playing in England is a tough gig. Is it?

DB : It can be!

SS : At what point did you and Robin finally start to write together?

DB : I don't really remember to be honest. It seemed to be fairly early on.

SS : To present the new material, a new band emerges with ex-Gamma front man/vocalist Davey Pattison and Pete Thompson on drums. The result is a new release titled "Passion". To me, this album was a milestone. The band seemed to really gel and the live shows were some of the best and tightest I had ever heard. I, unfortunately, know very little about Pete (although Pete, if you read this and would like to talk, please write me) but did you know either of them prior to the recording of this album?

DB : Pete was a friend of mine from Essex, and Davey was introduced to us by a friend John Rewind.

note: John Rewind's name showed up in the Davey Pattison interview.
John has a recording studio in San Francisco and worked with Davey
on "Mississippi Nights". You can also read a bit about him on Funky
Paul's site. (amazing connections !)

SS : While I really liked "Passion" and "If Forever", my personal favourite would have to be "No Time". As best as you can recollect, how did this song come together as far as the writing was concerned?

DB : The writing with Robin situation was usually as follows (but not always).
Robin would come up with a riff, groove and/or chord sequence that he liked. He would develop this to a point where it had some form. He sometimes would
have some idea for bits of lyrics or melodies as well. He would then record what ideas he had onto a cassette, on his walkman or something similar. I would take this tape and write lyrics and melodies as required. We would then demo the results on a portastudio which we carried on tour. So, in summary, Robin would write most of the music, and I would write most of the lyrics, but this is by no means a hard and fast rule.

SS : Who is Caroline?

DB : Haven't a clue!

( ...... Damn! I asked Davey this same question and he didn't know either!)

SS : Davey Pattison told me you are quite the practical joker. What is the funniest thing you ever pulled on him? And did he ever get you back?

DB : I threw him into a fountain in an atrium hotel at the end of a tour. He got me back real good with a long wind-up regarding a fictitious endorsement with Akai. It was a cracker!

note: When I started to do the interview with Dave , I had asked Davey Pattison if he had any anecdotes to share about his time working with Dave Bronze. He wrote back the following......
"As we talked about in my interview with you, my fondest memories of
the "Bronze Man" as I called him, were of him as the eternal "mischief maker". I decided one day that it was time to "reciprocate" all the jokes he had played on not only me, but everyone else around. At the very start of an east coast tour, we had this P.A. company who were travelling with us, and I enlisted the help of one of the crew guys. To make this work, I had to have someone with an American accent, and one that he would not recognize. Dave was always talking about new equipment, so I had this guy from our sound company get in touch with Dave, telling him that he was a representative of Akia, and that their company was interested in "endorsing" Dave with one of there new "samplers" Dave of course was thrilled with this news, and told everybody in the band that he had been approached by Akia with the chance of an endorsement for some very expensive equipment. Well, I kept this going for the whole tour using my partner in crime from the sound company, (let's call him John Jackson) to occasionally leave messages at the hotel for Dave, repeating their desire to "endorse" him. On the very last night of that tour, it was just before Xmas, and I remember it well, (Dallas Tx) I sent Dave a little card telling him Santa in actual fact was not coming to him this year!!
That Mr Jackson, was in actual fact, Mr Pattison!! I didn't however get off scot free for my "adventure", as there was a huge fountain in the middle of the hotel lobby, and Dave was gleefully happy to carry me through the hotel, and place me up to my ass in the middle of it! I got on the plane the next day to fly home to San Francisco with a pair of very wet shoes!!
Dave is a great guy, and a fabulous player, and I hope someday to have the honour of working with him again.
Davey Pattison

Now, when I got this from Davey, I immediately noticed the differences in how each one had told their side of the story. Since Davey and I talk fairly regularly, I thought I would phone him to clarify, but then I thought how funny it really was that both of these guys (granted it was over ten years ago) remembered it as the other one starting it, and left it as is. Boys will be boys!! :o)

SS : I also remember hearing something about your fashion sense at a 30th Anniversary party for Gary Brooker and his wife, Franky.

DB : Well, the brief was "dress as you would have done in the summer of love". I was a schoolboy then, so..... you know the rest.

I head this story from Funky Paul and it was that guests were to come to the party dressed in what they wore during the sixties and while everyone else came in hippy-ish type clothes, Dave had on a "proper school boy" outfit and made quite an impression!

SS : Then after the Passion tour, you took a break from working with Robin and formed a band called "The Art Of Noise" which was an early synthesizer based band. This was one of the few projects you worked on that I could not locate any music from. You did a brief tour of Japan with this band. Can you tell us a bit about this project?

DB : I can't believe you can't find any info re this band. I must point out I did not help form the band. It was already a very established set up formed by Trevor Horn, Ann Dudley and some others, and had had No 1 hits in many countries. The band is generally recognized as the first sampling based band and very important in the development of hip hop and dance music in general. They were mainly a studio project. They did one world tour, which I was on.

(While I love the small city life, one of the drawbacks is that there are not many stores where you can find a wide variety of CD's and/or albums.. :o) )

SS : Around this time, you also got to work with the great Duane Eddy on the revival of his "Peter Gunn" hit. How did this come about?

DB : Duane was working with The Art of Noise, and had had, as you say, a hit with them with the reworked Peter Gunn. We got on really well, and he asked me to tour the U.K. and Europe with him several times. Really a great guy.

SS : You also played on Gary Brooker's solo album "Echoes In The Night". How long have you known Gary and where did you first meet?

DB : Here go the connections again! Through playing with Mickey Jupp, I met Keith Reid, who was Mickey's manager. Keith recommended me to Gary for the
Echoes album. We have worked together on and off ever since.

SS : There was also another project with Gary in a band called "No Stiletto Shoes". What came out of that?

DB : That is an occasional band that still plays whenever possible.

SS : Do you know what the term 'take a break ' means? :o) You don't seem to ever stop! How often do you actually take time off, or do you always seem to have something in the works?

DB : I hardly ever seem to have time off. There is always something happening.

SS : I understand that Gary was the person who first introduced you to Eric Clapton? What was the occasion?

DB : Eric would often guest with the Stilettoes. I knew him for many years before I was hired by him.

SS : So was this break in working and touring with Robin understood to be for a certain length of time to later be reunited to continue writing, or was getting back to collaborating something that just happened?

DB : The fact is, there was some free time in the Trower schedule, so I just filled it up with other work! I'm fortunate in that I have never been short of offers of good gigs! (Touch wood!!!!!)

SS : The next set of songs with Robin produced "Take What You Need", another great release. One song that I really thought was a classic was "Over You". You and Robin were really coming up with some excellent songs. Was it easier to co-write these the more familiar you became with Robin's style of writing/playing, and the vocal abilities of Davey?

DB : Both! We were definitely getting into a groove with the writing, and Davey's vocal prowess really helped. I always write better if I have a singer in mind, and I totally had the wee scotsman in mind when I was working on the songs at that time.

SS : The common thread throughout most of the songs on this album seem to be relationship oriented and from a lot of different perspectives; "Won't Even Think About You" .... when you walk out the door, "No Time" ...... for us anymore, "Take What You Want" .... from me, to "Love Won't Wait Forever" and "Over You". On which songs did you provide the lyrics and where were you drawing your inspirations from?

DB : The common thread throughout life is relationship oriented! The passage of time has obscured the details but to my recollection I was responsible for most of the lyrics on these songs. Some more than others. "Over You" was all my lyrics, "No Time" was some Robin, some me. In the end it doesn't really matter. Two people collaborate on a song, the result is different than it would have been with either one alone! Mr. T. was definitely the musical leader though.

SS : So it is around this time that you decide to move your family to the United States. What prompted this decision?

DB : Very simply, at that time we were touring the U.S. constantly. A friend of mine was managing an apartment complex in the Bay Area and a vacancy
appeared so we thought, "Why not?"

SS : Was this your friend John Rewind?

DB : You guessed it.

SS : What was your wife's initial reaction to the thought of moving half way around the world?

DB : Totally supportive, as usual!

SS : Is there any particular place you find it easier to write. On the road for example, or at home, or does it matter where you are?

DB : I always write better when I'm involved with someone who excites me musically. It doesn't really matter where I am geographically!

SS : We have heard lots of comments regarding the record companies that were involved at this time and how Robin was not happy with what they were expecting from him. Were you involved in the discussions with the label and what were you feeling was happening because of this friction?

DB : I was not involved in any way with the discussions at the time. Robin once described the band as a "benevolent dictatorship". Nuff said.

SS: There was a change in drummers when Pete left and Bill Lordan was brought in to do some of the touring. Why the change? Had you met Bill prior to this?

DB : Bill was brought in because Robin needed a change. I had not met Bill before this.

SS : Do you know what Pete is up to now? Have you stayed in touch over the years?

DB : Pete lives very near to me, but I only see him once or twice a year. He's still playing as far as I know.

SS : Once the "Tear It Up" tour was completed, you find yourself in what situation? Were there plans to get back together again in the future?

DB : I can't remember! Seems to me we were in a continuous on going situation.

SS : I received the following question from an individual who frequents my site, and as I have had numerous notes asking the same type of question, I thought I would include it...........

"I was curious about Dave Bronze's thoughts on the
end of his tenure with Robin . When he went to New
York to record 'In The Line Of Fire' with the
legendary Eddie Kramer on board that is. It seemed
set to be an awesome reunion for Robin with stick
master Bill Lordan that wound up with this top notch
rhythm section being replaced by some session men!
Dave has had the most co-writing and length of
partnership of his career to date with Robin and
maybe it was just time to move on. The Atlantic CD
just instantly appeared in stores here with no
promotion and was deleted shortly after it's release
along with 'Take What You Need' .

DB : I'm so glad someone has asked this question! Your correspondent is correct in his assessment (in my opinion) that we had a pretty good thing going at that time. I had actually devoted several years and much loyalty to Robin's band, and had during this time turned down some very serious offers (including, foolishly in retrospect, the re-launch of Pink Floyd!!!). As far as I am led to believe, it was the "legendary Eddie Kramer" who suggested that we should be dumped in favour of the aforementioned session men. I didn't understand it then, and I don't understand it now. (Interestingly, the record sales went from a fairly healthy and growing level to zilch in no time at all).
However, being dumped at that point led me to move back to the U.K. which in turn eventually led to me getting the gig with Eric Clapton, so I guess I should be grateful, although I can't say I felt that way at the time! For the record, I feel I was treated very poorly at that time by everyone involved. But hey, I lived to fight another day! It's all part of life's rich tapioca. I refer you to a quote from Hunter S. Thompson. Never a truer word spoken! ....

"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."
--Hunter S. Thompson

I found out that the "legendary Eddy Kramer" went and saw the band play at one show.....one show!!!..... and decided that he did not want Dave and Bill for the album. I have heard a few of the early versions of a couple of the songs from In The Line Of Fire with Dave on bass and Bill on drums ....... and I can tell you that IMHO Eddy Kramer made a very stupid decision and why he was allowed to make that decision I will never understand. I mean, what possible benefit was there in the recording of that album that would warrant bringing in two complete unknowns to replace two long term members whose skills are beyond reproach!!
Thus ended a great era in the music of Robin Trower.

SS : Well, time wise, we are somewhere in 1989 and you performed at a very special charity event at a place called "Wintershall House & Gardens" with a few well known musicians. Can you tell us a bit about the show and who you were on stage with?

DB :That was a charity show for The MacMillan Nurses, which is an organisation for cancer nurses. I was asked by Gary Brooker to take part, I flew home to the U.K. especially to do it. The band was as follows:- Drums,
Phil Collins and Henry Spinetti. Keyboards and vocals, Gary Brooker and Steve Winwood. Guitars, Eric Clapton, Mike Rutherford and Andy Fairweather Low. Percussion Gary Hammond (now with The Beautiful South). Backing singers included Sam Browm and her mother, Vicki (sadly deceased). Plus a horn section. (I hope I've remembered everyone!) It was obviously quite a gig! I remember thinking "What the hell am I doing up here?" about halfway through the show!

SS : I found yet another "connection" in reference to the band Bloodwyn Pig and their drummer at the time, Clive Bunker who was in "Jude" with Robin Trower! What was your involvement here?

DB : Not sure what you mean here. I had no involvement with the Blods at that time, but oddly enough have become quite well acquainted with Mick Abrahams in the past few years!

SS : Now in the early 90's you you got involved with a variety of different bands. The first one I came across was "Be Sharp" with guitarist Jerry Stevenson. I really enjoy the sound and very solid feel of this group. Can you tell us a bit about your tenure with this band and its members?

DB: That band was a spin-off project. Jerry, myself and drummer Bob Jenkins were working together in Barbara Dickson's band at that time. She stopped working due to pregnancy so we formed the band for something to do. I was with it for the first couple of years, and then moved on.

Be Sharp did a great version of "No Time" which was released on
"Be Sharp Live". Jerry has a great voice! If you haven't heard this, try
and locate a copy.

SS : Are they still playing today?

DB : They are still going strong as far as I know!

SS : In 1991, at some point, you ran into a member of a band that I had heard of but had not really checked out, Dr. Feelgood. I absolutely loved what I heard from the samples I got from your friend Chris. This is really entertaining straight forward fun music. Please tell us about this band and how long you were with them.

DB : The Feelgoods were (and are still) from my area, and I had known them all for a long time. Very tough, hard hitting, no prisoners R'n'B band. They called me in as a session player to finish off an album in mid production after deciding to part company with their bass player. It just went on from there, and I ended up being with them (apart from a short break) until the tragic death of front man Lee Brilleux.

SS : The break you mentioned was to fill a commitment with Procol Harum. This was for "The Prodigal Stranger" album?

DB : It was indeed.

SS : You went on tour with Procol and I believe came to Canada and did something with the Edmonton Orchestra. Had you ever played in this type of forum?

DB: I had done some orchestral work before, but not on quite such a grand scale. I loved it!

SS : After your tour with Procol you went back and did work on Dr. Feelgoods "The Feelgood Factor" which I believe you co-produced. It was about this time that Lee Brilleaux was diagnosed with cancer. I read that as ill as Lee was , he worked hard to finish this album. Watching your friend push himself this way had to have left a lasting impression on you. Can you tell us about it?

DB : That is a masterpiece of understatement. In fact, as co-producer (and also a songwriter) on that album, it fell to me to supervise most of Lee's vocal performances. I pushed him very hard, as at that instant I wasn't aware of the gravity of his condition. He, however, did know the full story, but still worked incredibly hard and wouldn't stop until it was done. Naturally I was somewhat shocked when the facts came out, and pretty upset with myself for pushing him as hard as I did. I will never forget that time. I was and will always remain in awe of Lee's determination and professionalism in the face of the ultimate adversity. He was truly a hell of a man, and is sorely missed.

SS : There is also a very moving story with regards to the final recordings of Lee Brilleaux and Dr.Feelgood that were done in January of 1994 and released as "Down At The Doctors". You were involved with setting this up. Would you please share with us how these shows came to be, and, in your mind, what you felt they meant to Lee.

DB : Well, Lee underwent the torture of heavy chemotherapy, and I visited him in hospital a few times. He was then sent home (very much thinner than he left!) and to my astonishment, after a while, called me and told me he wanted to do a live album. (This is again a measure of the man!). He asked if I would co-ordinate and produce it, and I of course accepted. We rehearsed for a few days and did 2 nights at a small bar he part owned in his home town, Canvey. He had to sit down for much of the time, but performed amazingly. He died not long after this. Tough times, but an honour nonetheless. Melodrama aside, I think he knew it was to be his swan song, and I think that's why he did it.
Anyway, I mixed, edited, and mastered the album as quickly as I could, and managed to get a CDR copy to him only a short time before he passed away, but I don't know to this day if he ever heard it. He was in a very bad way by then.

SS : I also have to mention how much I liked the song " One Step Forward" that you wrote. Lee's vocals are great!

DB : Thanks!

SS : During the lay off from Dr. Feelgood in 1993, you joined a band you once described as "Southends hardest working blues -rock band" ...The Hamsters. This band , I think, was one of the heavier sounding bands you have been with. How did joining this band come about?

DB:I had known lead Hamster Barry Martin for many years before this, and you will note we worked together with Brad Trower in The Old Pal's Act. When Lee became ill Barry called me and offered me the gig. (The band had been together for many years, but the bass player developed a problem in his hands). I didn't think the band was right for me, but Barry was persistent, and I gave in and joined. It was a mistake.

SS : Why did you feel the band was wrong for you? Basic musical differences?

DB : There were many reasons, and musical differences were definitely there. Like all relationships,(and being in a band is very much a relationship) there were many small things that create incompatibility. The fact is, I should have listened to my instinct in the first place. I knew the band wasn't right for me (and/or vice versa), so I shouldn't have joined. The main problem is that it was not a smooth ride, and the end was not particularly amicable, and the result is I've lost a couple of very long standing friendships.
But life goes on!

SS : Was Route 66 the only release you did with them? A great version of "Tear It Up" on this CD by the way!

DB : Yes, and I quit before it was finished.

SS : In the numerous articles I have read, I kept seeing this comment from you . . ." ..and then I got a call to join Clapton". Every time I read that line I kept trying to picture what your reaction may have been as you got off the phone. I mean, geez,.... the opportunity to record with Eric .. freakin'.. Clapton!! Even though you did know him, did you react calmly or was it closer to you running around the house laughing and screaming and jumping up and down?

DB : Truth is, it was Eric's manager who called, and I thought it was one of my friends having a joke, so I just dicked him around for a while. Pretty
embarrassing when I realized it was for real! In fact, my answering machine recorded the whole conversation, and I still have it, but don't expect me to let it out while I still draw breath! Also, I should mention that I was only asked to help them out for rehearsals. Nathan East was otherwise occupied for a time just as Eric was preparing for a Japanese tour. I was just filling in for him. Happily, it led on to much greater things, including me playing on the biggest selling blues album in history (so far as I am led to believe!). Go figure!

SS : How did you go from coming in as a short term replacement to going into the studio to work on Eric's next release "From The Cradle"?

DB : I just got a call to be at the studio. What was going on behind the scenes is unknown to me.

SS : I would think that working with Eric in the studio would be any musicians dream. What kind of atmosphere does he like to work in while recording?

DB : He is very hard working, focused and conscientious in the studio, and rightly expects the same from everyone else.

SS : This album was basically a live recording. One take, no overdubbing, as to capture the original live blues "feel" for lack of a better word. How did a typical session go?

DB : We'd just routine a tune until it was ready, then record it until we got it! No repairs though. If anyone made a mistake, it had to be done again!

SS : How long did the album take to complete?

DB : Several weeks. It was split up into chunks so I can't really remember.

SS : Tell us about the first live show you did with Clapton. Even though you had played with Eric before, this was not just a one time show, you were on stage as a full time member of the band.

DB: It was at the Albert Hall, the first of a run of 12 shows. I was so nervous I can't bear to think about it!

SS : You did a couple of tours of the U.S. with Eric and played everything from arenas to some of the small blues clubs in the south. What was the largest audience you played for?

DB : Again it's hard to say. Many of the arenas in the U.S. hold up to 20,000 people, and we did most of them.

SS : How long were you with Eric?

DB : Late '93 until early '97 I think.

SS : Was there any opportunity to collaborate on writing?

DB: Er, I wish!!!!!!

SS : Any really special moments you remember while on tour or even on stage that you have as a reminder of your years with Eric Clapton?

DB : Many actually! Jamming with Buddy Guy, or Jimmy Vaughan, or Dan Ackroyd (among others). Just the pleasure of standing next to EC when he was fired up! Touring at the top level is an experience in itself.

SS : While touring and recording with Clapton were there any "Bronze" antics that you would like to share with us? Any humorous stories?

DB : Don't you think that the story about the original phone call was enough? Actually my life is mercifully full of funny moments, I seem to attract them. Laughter is the best medicine, and maybe the only way to maintain a semblance of sanity in this odd business.

SS : While you were touring with EC, Dr Feelgood reunites with new vocalist Pete Gage and releases a comeback album. While you couldn't go on the subsequent tour you still managed to write one song, co-write another, and produce the album for them. How did you come to be involved with this project?

DB : The Feelgoods and I are always in contact. It's natural for them to ask me to produce them. I know what they want to achieve, and I live close by,
(+ I'm cheap!). Why use anyone else? In fact I've produced all of their albums since Primo.

SS : You were also fortunate enough to be on stage at the Royal Albert Hall for Eric's 100th show there. I have seen photos of that venue, the crowd seems very close, what is it like from the musicians perspective playing there?

DB : It's a marvellous gig. The sound is difficult, but it is a fabulous buzz to play there. Very warm and intimate!

SS : How did your tenure with Eric come to an end?

DB : The Blues period came to an end, and I guess he needed to move on and change to keep his interest up. And lets face it, he and Nathan go back a long way. I have no regrets, it was a great experience. Life changing in fact.

SS : Life changing? In what way.

DB : Lots of ways really. But mainly in that after the EC period I don't feel I have to prove myself all the time any more. Whatever anyone else thinks of my ability (or lack of it), I feel I got pretty close to the very top in my particular field of endeavour. If I never play another note, (and I'm sure there are people who would cheer loudly at the prospect!) history cannot be changed, and I can be content with that. For someone like myself, who is not naturally the most self confident at all times, this is a profound change. Life changing in fact! Oh......... and the money was good too! ;-)

SS : When you are on tour, what do you do, if anything, to prepare yourself for a show?

DB : Just sit quiet and get my mind focused. I don't like to schmooze too much before a show. Oh, and I drink 2 bottles of Mescal too! ;-)

SS : You seem to tour constantly. My weekend in California last year opened my eyes as to just how long a day can be for a touring musician.... set up, sound checks, etc. and then nothing more to do until the show. What do you do during the day to keep yourself occupied?

DB : Mostly reading. I sometimes listen to music, but not as much as you might imagine. I also like to play tennis as much as possible, but it is not working out well at the moment as nobody in the Bibb camp plays. It's not much fun on your own, (tennis that is!)

SS : But that way you win every game! :o) I read somewhere you like to cook. What's your specialty?

DB : Burning things! I love to cook, but I'm pretty bad at it! I'll try anything though! It's a fabulous escape from stress. Just put me in the kitchen with a nice bottle of wine and some CDs and see what comes out!

SS : You have worked with, toured, jammed and/or recorded with an incredible number of people. Going through the list gave me dozens of questions to ask but as there are so many, I thought the best way to hear a bit about each one was just to give you the name and have you comment on them....

You worked with Bo Diddley on his "A Man Amongst Men" album.

DB : That's true. I have known producer Mike Vernon for many years, and he called me in to do a bit on that album.

Mike Vernon has produced albums for Ten Years After, Fleetwood Mac, Savoy Brown and John Mayall and others.

SS : You toured with Paul Carrack from Mike and The Mechanics....

DB : Correct, and played on an album (Beautiful World). That was a big thrill as I have long been a Carrack fan. He is one of the very best vocalists the U.K. has ever produced. I enjoyed that period very much.

SS : You got together with Jeff Beck and Stuart Copeland How did that come about and what happened?

DB : I was called in to do some sessions with them. There was no talk of forming a band. I have no idea what became of the tapes either. Jeff really is a totally awesome guitarist.

SS : You played a special memorial with ex Pink Floyd member Snowy White.

DB : Every year since Lee Brilleaux died there is a memorial gig, and all sorts of people turn up to play. I think it was about 2 or 3 years ago that Snowy,
Feelgoods drummer Kevin Morris and myself did a set together. It was fun, Snowy's great.

SS : I read you also toured with Brian Ferry and worked with him on a song for the soundtrack from the John Travolta film " Phenomenon".

DB : I did record with him, including the Phenomenon track, but I've never toured with him.

SS : Belinda Carlisle....

DB : Oh yeah, I did a few things with Belinda. Actually, I really enjoyed it! I like good pop music, and she does it good!

SS : Roger Daltry...

DB : Quite a while ago now. I played on some album tracks for Roger, and also the soundtrack to the film Buddy's Song.

SS : Leo Sayer...

DB : I was in Leo's band sometime around 1990ish. I also recorded a version of Jim Capaldi's Love Hurts with him for a film soundtrack. He's a real live wire! We still speak from time to time.

SS : Chris Farlowe...

DB : Now we are going back! I did one album and some gigs and TV shows with Chris. Another classic all time British great singer. There is and old clip from a 60's TV show called "Ready, Steady, Go" which has Chris Farlowe dueting with Otis Redding. He holds his own too!

SS : David Gilmore...

DB : Dave was involved in a charity gig I did many years ago. The line up was (as far as I recall) Me, Ian Paice, Gary Brooker, Andy Fairweather Low, Chrissie Hind, Dave Gilmour, Sam & Vicki Brown and some assorted guests.

SS : Ray Davies...

DB : I just did one gig with Ray. For some reason he didn't come to the rehearsals, so it was a bit weird.

SS : I hope I have mentioned most of the people you have worked with up to your latest works with American blues guitarist Eric Bibb. Have I missed anyone?

DB : Probably, but what the hey, I can't remember them either!

SS : You have been working with Eric Bibb for a few years. How did you first hook up with him?

DB : I was brought into an album project of Eric's by producer Mike Vernon. Eric and I seemed to hit it off musically right away. When the next album was due, (no Mike this time) Eric asked me to become involved again. One thing led to another, and I ended up producing it. I have just finished my 3rd album production for Eric, (called "Painting Signs") which will be released within the next few months.

SS : Tell us a bit about the music of Eric Bibb.

DB : Eric is difficult to pin down musically. He is definitely blues oriented, but there is a lot of folk and gospel in the mix. Kind of Taj Mahal meets Keb Mo meets Josh White meets Gary Davies.

SS : From what I've sampled, Eric seems to be much more acoustically based than most of your past projects. What do you find is the biggest difference(s) playing this way?

DB : It's potentially much more musical and subtle. Often Eric and I tour as a duo, which sounds odd (acoustic guitar and electric bass!) but actually works brilliantly. And no bloody drums thrashing away! (No offence Bill!) :o)

SS : Having produced two albums for Eric so far, ("Home To Me" and "Road Works"), and being no stranger in this field in the past, is producing
something you want to do more of ?

DB : I think so! I have kind of stumbled into it almost by default, but I have now put together a pretty decent digital studio at home and I really like the process of producing and being responsible for the music from nothing to the finished CD.

SS : In the role of producer, what are the main criteria you feel need to be addressed and/or accomplished in order to fulfil this task successfully?

DB : The absolute most important skill is people management /psychology. It is all about creating an environment (physical and mental) where the artists and musicians feel comfortable and free to perform. On the technical side it doesn't really matter how you capture the moment. It can be 2 track cassette tape to 256 tracks of digital multi-track, if you don't set up the mood you won't get the best performance. (Of course, I'm referring to real players here, programmed music is a different situation altogether). I can give examples of two records which I consider to be all-time greats: Maybelline by Chuck Berry and Mannish Boy by Muddy Waters. By modern audio/technical standards, these tracks are pretty low-fi and grungy, but they remain classics because of the brilliance and urgency of the performances.

SS : With all the bands and individuals you have worked with, which one most closely epitomizes who Dave Bronze is?

DB : All of them! I'm a strange bunch of guys!

( .... sounds like a great title for your first solo album! :o) )

SS : For the benefit of the equipment gurus, would you please tell us what your current set up is?

DB : With Eric I am mostly using hired equipment, and to be honest it doesn't really matter what it is (within reason). My sound is in my fingers. I do have an endorsement with Trace Elliot amplifiers, and in the UK and Europe I use one of their 300 watt 4x10 combos, which is just fine! I haven't done any big gigs with other people for a while, but I have a choice of very large amps to choose from, including a 600 watt Trace Elliot SMX rig.

SS : Your favourite bass guitar is ?

DB : My all round best bass is a 5 string made by Roger Sadowsky in New York. I have been using it for many years and it just does the business. I do have some wonderful old Fenders, including a beautiful sunburst 1961 Precision bass given to me by EC, which was once owned by Keith Richard.

SS : When you're writing, do you use your bass, or do you prefer the guitar or piano to get the melody down?

DB : It can be any of the above.

SS : I found it pleasantly surprising that you carried a laptop while on tour.
(Just so readers are aware, this interview was done completely on the net as, at the time, Dave was on tour when we first started. It started off with Dave in the southern U.S., then he was off to Italy, then to England, down to Australia for awhile, back home to the U.K., then off to Germany...) What a great difference this must make in maintaining a closeness with your family and friends. This must make touring somewhat easier on you.

DB : It has made a tremendous difference! As you say, I'm touring an awful lot at the moment, and my laptop helps me maintain contact with home and friends. It's a real boon.

SS : A question from your friend Chris:
"If you could only take five albums to a Desert island which ones might they be.... I would guess something by Jaco Pastorious, Donny Hathaway, Jimi Hendrix, Bobby Bland and Beethoven .... mebbe?"

DB : Good question! My 5 albums would be something like .......a Donny Hathaway 'Best Of' , Hejira by Joni Mitchell, A Tom Waits compilation (I'd find it too hard to pick only one Waits album), a Stax collection, and for the 5th one I'd have to really think hard to choose from Pet Sounds, Electric Ladyland, a Motown collection, Heavy Weather by Weather Report, Elgar's
Enigma Variations, The Lark Ascending by Vaughan-Williams, Anything by J.S. Bach, Kind of Blue by Miles Davis, Howling Wolf, Muddy, oh my God.......... the list is endless. In fact I think I'd rather not take any than have to choose!

SS : I was told that one of your favourite bass players is Jaco Pastorius . What was it that the late and great Jaco did that impressed you so?

DB : Everything! He combines real musicality with ferocious technique, a very identifiable sound, and a real pioneering vision. He changed the way we think about bass forever. However,I'm not suggesting that it is a good policy to emulate Jaco; playing that busy would soon get you fired from most bands. He was special, a true stylist. For a more groove oriented type of bass player I'm a big fan of Willie Weeks and James Jamerson.

... Jaco played with Joni Mitchell for a period of time.
.... Joni (Anderson) Mitchell grew up across the street from my step-father in North Battleford, Saskatchewan and her parents currently reside here in Saskatoon.

.... Willie Weeks' name is also familiar to this site as Willie used to play with Bill Lordan and was with Bill during his auditions with Jimi Hendrix.

SS : Had you ever wanted to go through the longevity of playing with one band, or have you preferred the challenge and variety of working with different artists?

DB : I've never consciously intended to "float around", it just seems to work out that way. It must be cool to feel comfortable with one band for a whole career, but in truth, that is a fairly un-typical scenario.

SS : Would you like, at some point, to work and write with Robin Trower again?

DB : I haven't ever really considered it, I'm sure Robin hasn't either. I have worked with him once since we parted company. He called me in to do some work on a Bryan Ferry project a few years ago, but nothing saw the light of day. (Incidentally, we live within a mile or two of each other, but I never see him.)

SS : All right Dave, believe it or not this is just about it!
Writers privilege allows me to ask this final question...

The popularity of nostalgia tours being promoted recently is
overwhelming. After doing this interview with you, I'm obviously more aware of your feelings and opinions about the years you collaborated with Robin.... and I completely respect them. Still, I have to ask, given the opportunity, the right timing and ideal circumstances, would you consider the idea of working with Robin, Davey Pattison and Pete Thompson again on a "blast from the past" reunion summer tour? I mean absolutely no disrespect to Robin's present bandmates, who are incredibly nice guys and great musicians in their own right. I just feel the opportunity to showcase ALL the great music done by the RT bands over the years could be best achieved with the line up I mentioned. I understand that not every musician enjoys going back. Even Robin has made that abundantly clear by building his whole career on moving forward, but at some point, those same musicians can't deny the music or the people that brought them this far. Perhaps this window of opportunity to have a "one-time-only" tour could be explored further.
Who knows, perhaps a "Live" album could emerge from the best cuts of the tour.

DB : Ah, I thought you might be leading up to that! My response is probably going to fall short of what you want I'm afraid. In fact it may sound like a cop-out! The thing is, I don't honestly think that this will ever come up in reality, and it is pointless trying to answer a hypothetical question if there is little or no chance in the scenario actually arising. As you rightly point out,
Robin is noted for being pretty uncompromising with his career, and I can't imagine him wanting to do something like this.

However, as the old saying goes, never say never!

(.....stranger things have happened :o) )

SS : Is there anything I didn't touch on that you would have liked to have mentioned or discussed? :o)

DB : Actually Steve, I think this has been one of the most detailed and probing interviews I have ever done. I don't think you left anything out! (Except my inside leg measurement ;-). I must also add that the process of being interviewed by email has been great! It is so nice to be able to think about the questions a bit before answering.

SS : Dave, it has been a real pleasure doing this interview with you. I'd like to thank you for not only giving us some smiles and laugher along the way, but for enlightening us all with the candour of your responses.
I'd also like to say how grateful I am for being introduced to some excellent music that I may have never been exposed to otherwise. I look forward to
more discussions with you in the future.

DB : Thanks Steve. I can honestly say I have enjoyed our correspondence. I have not thought much about my Trower days for some time, and it was fun (mostly) to revisit them in this way. (I still don't remember what Bill's little story about the security man was all about!). I must also add that I'm truly flattered and gratified to hear that so many people would appear to remember my part in the saga. I send them all my greetings and sincere thanks!

SS : Glad you enjoyed doing it Dave. It was fun for me too!

Special thanks to Kevin Ruddell and Chris Frances for all their help in making this interview possible. Chris, your generosity and time in compiling and sending me these amazing recordings and articles is very much appreciated.