Chris Spedding - the best of motor bikin'

Chris Spedding - the best of motor bikin'

@ 320 kbps - Covers are included

Motor Bikin' / New Girl In The Neighbourhood / Nervous / Jump In My Car /Running Around / Pogo Dancing / The Pose / Wild In The Street / Silver Bullet /Roadrunner / Get Outa My Pagoda / Hurt By Love / Bored Bored / Hey Miss Betty /Walking / Breakout (concert version) / Gunfight / Evil / I'm Not Like Everybody Else /Box Number / The Crying Game / I Got A Feeling / A Shot Of Rhythm 'n' Blues /Guitar Jamboree

One of Britain's most versatile session guitarists, Chris Spedding had a long career on two continents that saw him tackle nearly every style of rock & roll to come down the pike, as well as sporadically attempting a solo career. In 1975 he signed to Mickie Most's RAK label, for which he recorded the single "Motor Bikin'." The latter record, which was marketed with Spedding presented in a matching, contrived leather-wearing bad-boy image, made the U.K. charts, peaking at number 14 and led to the Chris Spedding album. Though it wasn't his first solo album, so great had been the impact of "Motor Bikin'," it might as well have been his debut as far as most listeners were concerned -- it was also a serious departure from his earlier albums, with a decided retro feel, in the choice of repertory and the sound of his instrument, as well as the vocal style that Spedding employed. Sporting an overall sound that careened between Buddy Holly and Gene Vincent, and a guitar style that emulated, at various points, the playing by Holly and Tommy Alsup on the former's records, as well as Vincent's lead guitarist Cliff Gallup, the record was a hugely influential work in its time, even if it didn't sell quite as well as the single that spawned it or ever really catch on in the U.S. It did give him the credibility -- despite being a veteran of the British Invasion scene and the psychedelic era -- to join the Vibrators on their first single, "Pogo Dancing." His punk credentials were enhanced by demos he produced for the Sex Pistols and the Cramps; false rumors flew for years that he actually played the guitar parts on the former band's records.
Spedding attempted unsuccessfully to capitalize on this new credibility with 1978's Guitar Graffiti, an exultant album-length guitar workout that put him back in his early-'70s mode but with a lighter touch and a more freely flowing spirit behind it, drawing together Spedding's virtuosity, the roots rock and rock & roll sensibilities he'd tapped on his recent albums, and all of the range of his previous work -- somehow, it failed to connect with the public, beyond his cult audience. He then moved to New York and joined the Necessaries as a guitarist and songwriter. The chemistry wasn't right, however, and he returned to England and recorded another album of his own, I'm Not Like Everybody Else, in 1980. The live Friday the 13th was released a year later, showing off some extended solos on his late-'70s material. Over the '80s and '90s, Spedding -- who was frequently compared to Mark Knopfler as a guitarist and recording artist -- continued his session work on such albums as Tom Waits' Rain Dogs, while periodically releasing solo material (1985's Mean and Moody, 1986's roots-rocking Enemy Within, and 1990's Cafe Days). He also led his own band -- mostly in Europe -- delving into vintage musical styles, including 1950s rock & roll (Gesundheit, 2000) and blues-rock (Click Clack, 2005). ~ Steve Huey & Bruce Eder, All Music Guide
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