The Unseen Legacy ‍of Leo Lyons: A journey Through Ten Years‌ After

Is there a more humble figure in rock than Leo ⁣Lyons? In a world often⁢ dominated by loud ⁤personalities,the 82-year-old bassist prefers to let his remarkable career speak for itself. And what a career it has⁣ been.

Teaming up with guitarist Alvin Lee-known as ‍’Captain Speed Fingers’ for good reason-at the start of⁣ the 1960s,Lyons helped transport British blues across the Atlantic with Ten Years After. Their explosive performance of I’m Going Home at Woodstock remains one​ of​ the festival’s most‌ unforgettable highlights.

While Woodstock solidified Lyons’ reputation, it is merely one chapter in the life of ‍a man often referred to as ‘the ⁢rock ‘n’ ⁣roll Forrest Gump’ due to his serendipitous encounters throughout ‍his career.

Today, the ⁢bassist shares⁣ his amazing journey, taking us from the iconic Star-Club in Hamburg⁣ to the control rooms where he shaped the sound of legendary bands.⁤ But it all began with a young boy spinning records in Mansfield, Nottinghamshire.

when ⁤Did You Realize​ Music Was ⁤Your Path?

[Laughs] I think it was around the age ⁣of nine. In a band,rejection⁢ is the norm-98% of the time,you face it. But ⁤you must persist. If you’re willing to sacrifice‌ everything-your girlfriend, your car, your bed, and⁣ even food-then that dream will⁤ keep you going. Eventually, it came down to ⁢just alvin and me when everyone else left the band.

There were moments when I considered other paths. I started doing⁢ session work,and many thought I was crazy for sticking with the band. I could have easily made more money doing a few sessions ⁢in London than traveling to South Wales for ⁤a gig. But I held on, and nine years later, we began to earn⁢ a living instead ‍of just scraping by.

How⁣ Did You Choose the Bass Guitar?

My⁢ aunt and ‌uncle owned a wind-up gramophone,and I listened ‍to Jimmie Rodgers-the singing cowboy,not the blues artist-and Huddie Ledbetter. That made me want to play ⁢guitar.

After getting a guitar and taking lessons, my teacher introduced me to some of his students who had a band. With four guitarists and⁤ a drummer using sticks on a table, we⁣ needed someone to play the⁤ bass lines. ⁤I fell⁢ in love with it. Soon, I sold everything I had to buy⁢ a⁢ Höfner bass on hire purchase.

From The Jaybirds to Ten Years‌ After

Initially, we were known as The Jaybirds, and we had a residency at Hamburg’s star-Club in 1962. We were part of the first wave of British bands; the weekend we arrived ‍was when⁤ The Beatles⁣ played ‍their ‌last gig there. ​Our schedule ‌required us to play an hour on and an hour off for seven⁣ hours each night, which led us to extend​ our songs and⁣ start​ jamming. that experience ​was ‌crucial for our⁢ advancement.

The Dynamic Duo: You⁢ and Alvin

Our musical interaction was intense, almost like a duel.⁤ I remember producing a record for Leslie West, who wanted me to play bass on it as well. He was recovering from a leg amputation,‍ so I tracked the songs without him.When he heard them, he said, ‘They sound great, but I expected you⁤ to play ‍more extravagantly like you did with Ten Years After.’ That’s how Alvin and⁤ I approached our‍ music-always pushing the limits, which contributed to our success.

the Name Change: Why Ten Years After?

After getting a new manager, we ‌were told⁣ that ‘The Jaybirds’ sounded outdated. He suggested we come back with a new name. While reading the Radio Times,⁣ I stumbled upon an ad for a book titled Suez Ten Years After, which inspired our new name. We’ve ​made up various stories in interviews, claiming it was a tribute to Elvis, but that’s the true origin.

How Did Your Sound Evolve?

Initially, Alvin⁤ and I played covers, but by the time we ​reached Hamburg in ⁣’62, we were ‍heavily influenced by Duke Ellington-style jazz and some country music, like​ Chet Atkins. We ‌both admired Elvis-Alvin liked Scotty Moore, while I preferred Bill Black. Our love for Muddy ⁢Waters, Howlin’ Wolf, Lead Belly, and Brownie McGhee led us​ to incorporate blues into our sets, alternating between pop and our original material.

Challenges and Triumphs

Some venues were resistant to our style. I recall ⁤a ⁣ballroom manager saying,‌ ‘I’ll pay you, but ⁤you can’t do a second set-the ⁣audience will revolt.’ ⁣It was tough ‍to convince promoters that we were worth booking, especially when they claimed we were ‘terrible’ and would ruin their business.

From 1962 ⁢to 1966,I‌ managed the band,as⁤ no one wanted to ‍take ⁢on a group that wasn’t making money. But I‍ was determined, as was Alvin. we​ believed in⁤ our potential, even if it meant sleeping on floors. Many young musicians today are too picky about their conditions.I once camped in a family’s garden to ⁤save money, which helped me buy my‍ first P-Bass.

When Did You Start gaining Recognition?

It wasn’t arrogance, but I ‌had faith that we would succeed.We couldn’t play ballrooms, but we began to gain traction in blues clubs across the UK. Our breakthrough came when ​fans from Denmark, Sweden,‌ France, ‌and Germany⁢ flocked to ⁣London in ’66 to ⁢see us perform ⁢at The Marquee. Despite the press and record⁣ labels ignoring us,the crowds were undeniable,leading ‌to ​our first record deal.

Trading Instruments: The ​Appeal of the Jazz Bass

Upon returning to the UK after our time ‍in Hamburg,⁣ I traded ⁤my Precision for a ’62 Jazz Bass, drawn in by its chrome hardware and slimmer neck. The Jazz ​offered more tonal⁤ variety, which I loved. Although⁤ I have 26 other basses,those two remain my favorites.

Gear Evolution: from AC15s to Marshalls

In the beginning, Alvin and I used AC15s,⁣ while our rhythm guitarist had an AC10. As ​we began playing larger venues, we upgraded to stereo amps ⁣and I even built⁢ my ​own 18-inch ​speaker cabinets. A friend sold me ​Jet Harris’s AC30 Super Twin, which was a game-changer for us.

We played at the Fillmore west and East, and even shared the⁤ stage with the Grateful Dead in Phoenix. California was‌ mesmerizing-the weather, the movie stars, and yes, the girls. Although we didn’t profit from that tour,we made significant inroads in New York.

Reflecting on Woodstock

Our⁢ performance at Woodstock⁤ was iconic, but at the‍ time, it felt like just another gig.We had already played festivals ​like Newport⁤ Jazz with legends like Nina Simone and Dizzy Gillespie. I didn’t watch much‌ TV, so I ​didn’t realize the importance of Woodstock until later. ⁣The conditions were challenging, with⁤ cables everywhere and high​ humidity‍ making it hard to stay in tune. ‍However, that performance catapulted our career,‌ and it’s something I’ll always be proud of.

What’s Next ​for You?

After Alvin left Ten Years After, I spent 16 years in Nashville focusing on writing ⁣and engineering, producing artists like Leslie West and Savoy Brown. Recently, I reformed Ten Years After with⁣ Ric Lee, Chick Churchill, and Joe Gooch, ⁤but our musical directions diverged. Joe and I then formed Hundred Seventy Split, releasing several records. sadly, my drummer passed away last year, prompting me to take a break. Fans frequently ask when I’ll return, and we may have something planned for⁣ next year.

Still Going Strong

At 27, I thought I’d retire from touring, but the thrill of⁣ performing is ‍addictive.The older I⁤ get, the more I⁢ question my decision to continue, but the passion remains. I’ve experienced the highs and lows of the industry,‍ and while it⁤ has ​changed dramatically, there are still genuine talents like Joe Bonamassa and Amy Winehouse breaking⁢ through. I believe the cycle will come⁣ back ⁢around.