The Unlikely Journey of Kasim Sulton: From Live Performer to iconic Collaborator
Kasim Sulton never envisioned himself as a session musician, yet his contributions to numerous legendary albums tell a different story.
Having collaborated with a diverse array of artists, including Steve Stevens and Richie Sambora, Sulton’s most notable partnerships remain with Todd Rundgren and Meat Loaf, particularly on the groundbreaking album Bat Out of Hell. “I had no inkling that this album would become one of the best-selling records in history,” Sulton shares with Bass Player.
The Dynamic Duo: jim Steinman and Meat Loaf
“Jim Steinman was introverted and reserved, while Meat Loaf was exuberant and larger than life. Together, they created something extraordinary. The musicians involved-myself, Todd Rundgren, Roy Bittan, and Max Weinberg-were fully committed to our craft,” he recalls.
“Though, the sessions were frequently enough filled with humor.The themes of many songs were so outrageous that laughter was certain!”
A Lasting Partnership with Todd Rundgren
Sulton also played a important role in Rundgren’s band Utopia and continues to tour with him today. “Todd has high expectations, but he places great trust in his collaborators.We recently celebrated 50 years of working together, and our mutual understanding has only deepened,” he reflects.
“As long as you’re dedicated and not just going through the motions, Todd is a pleasure to work with. If you ask him what you should be playing, he might just say, ‘I don’t know! Figure it out – that’s why I brought you on board!’”
Inspiration at 70
Now at 70, Sulton remains creatively energized. When not collaborating with Rundgren, he dedicates time to his solo projects. Reflecting on his work with Meat Loaf,he states,”What kept me engaged was a genuine understanding of Jim Steinman’s vision and how to best deliver those songs.”
“Not many were present during the creation of that record. I was. I’ll always remember Meat as a gentle giant who thrived on stage. And Todd is the quintessential artist-one of the finest lyricists of the latter half of the 20th century. I take pride in having worked alongside both of them.”
breaking into Session Work
How did you transition into session work?
I never really saw myself as a session musician. My roots are in live performances. I always enjoyed recording sessions and was eager to work on my own music, and also perform live. My association with Todd and Utopia likely made me a sought-after name on studio call lists.
Joining Utopia
what led to your role in Utopia?
I was close with Michael Kamen, who was friends with John Siegler and Roger Powell, both members of Utopia at the time. When John decided to leave the band, he asked Michael if he knew anyone suitable for the position, and he recommended me.
After borrowing $20 from my uncle, I took a bus to Woodstock for an audition. Utopia was a progressive rock band, and while my bass skills were decent, my ability to sing was my standout feature.
Recording Bat Out of hell
What was your experience during the sessions for Bat Out of Hell?
About six months after joining Utopia,I was at a rented house in Woodstock when Todd called me to play bass on a record he was producing. When I asked who the artist was and he said,”Meat loaf,” I thought he was joking. He insisted, “Just come to the studio tomorrow!”
The next day, I witnessed Jim Steinman at a small piano while Meat Loaf, Ellen Foley, and Rory Dodd performed the entire album live. There were no demo tapes-just these four artists passionately delivering the seven tracks for Bat Out of Hell.
Creative Freedom in the Studio
What was it like working on tracks like Bat Out of Hell and Paradise by the Dashboard Light?
No one provided me with specific instructions; I had the freedom to create bass lines as I saw fit.Looking back, I realize I took creative liberties that might not be as accepted in today’s sessions-I played a lot! I added riffs and little flourishes throughout that I’m still proud of today.
Reflections on the Album’s Legacy
Todd has expressed mixed feelings about Meat Loaf and the project’s perception. How do your views compare now to then?
I wrote Set Me Free in just 20 minutes.It became Utopia’s only top 40 hit.
After we wrapped up the album, I honestly thought I would never hear it again. It was a privilege to contribute to that music alongside Jim, Roy Bittan, Max, and Todd.
At the time, I didn’t see it as a groundbreaking record. In hindsight, I recognize that it resonated with a generation of youth who connected with Jim’s brilliant lyrics.
Utopia’s Only Hit
Elsewhere, you played a significant role in Utopia’s only top 40 hit, Set Me Free.
I was signed as a solo artist to Bearsville Records while Utopia was on the same label. I had 100 hours a year to work on demos, and I utilized every minute to record what I hoped would be my debut solo album. When I approached Albert Grossman to discuss starting the record, he felt I wasn’t ready and needed to write more demos.
Disagreeing with him, I, as a passionate 21-year-old, demanded to be released from my contract.He replied, ”Sure, that’ll be $50,000 and 5 points on whatever you record.Welcome to reality!”
Frustrated, I channeled my emotions into a song. I wrote Set Me Free in 20 minutes, and it became utopia’s only top 40 hit, thanks in large part to Todd and the band’s contributions.
Collaborations with Guitar Legends
In the ’80s, you worked with Steve Stevens and later Richie Sambora. What were those experiences like?
Steve is an exceptional guitarist, and I had the pleasure of contributing to his solo album alongside my childhood friend, drummer Thommy Price. His influences range widely, from classical guitarists like Segovia to rock innovators like Robert Fripp.
I toured with Richie for a year, and it remains one of my most cherished experiences. Richie is an outstanding guitarist and treated me with such kindness that I felt compelled to write a letter to his mother after the tour, praising her for raising such a splendid son.
Joining Joan Jett’s Band
You were also part of Joan Jett’s band.
I played with Joan from 1986 to 1989. Thommy Price was her drummer, and we grew up together. When her bassist departed, Thommy thought of me. Like many prosperous artists, Joan is clear about her vision. She’s not demanding but rather confident in her approach.
I’ve found that people hire me not just for my skills but also for my understanding of their needs. Whether it’s Joan Jett or Celine Dion, I’m there to support them, not to seek the spotlight for myself.
Lightning Strikes Twice
Meat Loaf experienced a significant resurgence with Bat Out of Hell II, which you were part of.Did you foresee that success?
Who could have anticipated that lightning would strike twice? When Todd and I recorded the background vocals for Bat II, we thought it would do reasonably well. We never expected it to sell 17 million copies! A big shoutout to Alan Kovac, who managed Meat loaf at the time and played a crucial role in that album’s success.
Reflections on The New Cars
Later, you joined The New Cars. What did you think of Benjamin Orr’s playing style?
Ben’s playing was beautifully simple. The New Cars was an exciting project, although I know Ric Ocasek wasn’t a fan! We were creating new music and hoping to keep it going. Sadly, an accident involving Elliot Easton cut that journey short.
Evolution of Your Gear
How has your rig evolved from your early days to now?
I prefer to keep my setup straightforward, whether with Utopia, my solo band, or anyone else-just an amp and a bass. Unless the gig calls for effects, in which case I’ll use an Eventide H9 and a couple of Keeley pedals to cover my needs.
Looking Back
any regrets?
I’ve met three Beatles and collaborated with one. I wish I could have shaken George’s hand and expressed my gratitude. I take pride in being recognized and respected by the musicians I admired growing up. What more could a kid from Staten Island ask for?
