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Where’s My Guitar?: An Inside Story of British Rock and Roll
Bernie Marsden
A fascinating insight into the golden-age of 1970s and 80s rock and roll told through the eyes of music legend Bernie Marsden and, most notably, his role in establishing one of the world’s most famous rock bands of all time – Whitesnake. ‘Bernie Marsden is a musical treasure…I don't think people know ALL he has done and just how much he was a part of the early British rock scene to present day. It's all in here. READ THIS BOOK!’ Steve Lukather, Toto Touring with AC/DC. Befriending The Beatles. Writing one of the world’s most iconic rock songs. This is the story of a young boy from a small town who dreamt of one day playing the guitar for a living – and ended up a rock n’ roll legend. It follows Bernie Marsden’s astonishing career in the industry – from tours in Cold War Germany and Franco’s Spain, to meeting and befriending George Harrison and touring Europe with AC/DC. It’s a story of hard graft, of life on the road, of meeting and playing with your heroes, of writing iconic rock songs – most notably the multi-million selling hit ‘Here I Go Again’ – and of being in one of the biggest rock bands of all time. At age 30, Bernie left Whitesnake due to serious conflict with his management, something he explores in this memoir for the very first time. Packed with stories and encounters with the likes of Ringo Starr, Elton John, Cozy Powell, Ozzy Osborne, B. B. King and Jon Lord, this is not just a remarkable look into the highs and lows of being a true music legend, but an intimate account of the revolutionary impact rock and roll music has offered to the world.
(#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
Copyright (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
Dedication (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
To Fran,
who always knows where my guitar is.
B x
Contents
1 Cover (#u8911c9a0-ccc3-5601-b95c-1a6a751e59ef)
2 Title Page
3 Copyright
4 Dedication
5 Contents (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
6 Praise for Bernie Marsden
7 Introduction
8 Preface
9 1. New York, New York, 1980
10 2. Going to my Home Town
11 3. Look Through Any Window
12 4. Welcome to the Real World
13 5. To the City
14 6. Dance on the Water
15 7. PALS with Deep Pockets
16 8. Whitesnake
17 9. Free Flight
18 10. Come an’ Get It
19 11. Look At Me Now
20 12. Baked Alaska
21 13. Shooting the Breeze
22 14. In the Company of Snakes
23 15. Going Again on my Own
24 Afterword: Guitars and the Sickness They Induce
25 Seminal Moments in my Musical Education
26 Picture Section
27 Acknowledgements
28 About the Author
29 About the Publisher
LandmarksCover (#u8911c9a0-ccc3-5601-b95c-1a6a751e59ef)FrontmatterStart of ContentBackmatter
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Praise for Bernie Marsden (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
Pat Cash, tennis champion
‘There wouldn’t be many guitar fans who haven’t heard a Bernie Marsden riff somewhere along the road. That goes for anyone alive in the ’80s and early ’90s, guitar fan or not. My first awareness of Bernie was during the glory years of Whitesnake while I was travelling the world making a career in tennis. Great album after great album, catchy riffs with melodic yet rocking solos. It was post-Whitesnake that I discovered the Marsden voice in its full extent, his most recent blues albums showing those talents. As a Rory Gallagher fan his Bernie Plays Rory album was more than a worthy tribute – a pure joy. No wonder he is applauded throughout the blues and rock world as one of the iconic musicians of his generation.’
Dónal Gallagher, brother of Rory
‘Rory’s admiration for Bernie as both a musician and as a person was huge and I share my late brother’s sentiments. Actions speak louder than words – Bernie was the first guitarist allowed to perform with Rory’s Stratocaster after his passing. In addition to his own great abilities, Bernie carries the torch!’
Steve Lukather, Toto
‘Bernie is part of the legendary wave of British blues-rock players I heard that had it all. His soul, chops and sound resonated with me. He is also a first-class gentleman and when he came to meet me and see me the first time Toto played in London in the very early ’80s he brought Jeff Beck and Gary Moore. Like I wasn’t intimidated enough by him … ha, ha! This started a lifelong friendship. Bernie is one of the best in every way and I am honoured to call him my friend – and he is one badass guitar player!’
Ian Paice, Deep Purple
‘Bernie is one of those rare musicians who can play whatever is required of him. Rock, blues, pop, you name it and he will do it, and do it very well! A talent in itself. But the other string to his bow is his writing. Back in the Whitesnake days it was obvious that without those songs, the band would have found it much harder to break through and enjoy the success it achieved. Those songs started out from Bernie’s imagination. No Bernie – no songs.’
Paul Jones, musician and broadcaster
‘I think the first time I played with Bernie was when he sat in with the Blues Band at a gig in Swindon, and I thought, Wow – this heavy metal guy can really play the blues! As time went on, I discovered that the blues (and soul) have informed all his work. The other thing I admire about Bernie is his humility. I’ve seen it on many occasions – not least the times when he’s contributed to my charity gigs at Cranleigh Arts Centre.’
Warren Haynes, the Allman Brothers Band
‘I first met Bernie in 1991 when the Allman Brothers came to Europe. There was a benefit at the Hard Rock in London and a bunch of us went and wound up jamming. I heard Bernie play and not only did he play great but he had the best sounding rig of anyone on stage. When it came time for us to play I asked him if I could play through his gear, saying something like, “You’ve got the only good-sounding rig on stage.” He laughed and obliged. We became instant friends and have played together numerous times since. I really love his economy of notes and the fact that the most important thing to him is to get a good sound first (which he seems to be able to do with any setup) and then take it from there.’
Zak Starkey, The Who
‘If I had never met Bernie Marsden I would never have spent three years sitting on his garden furniture in the back of a transit crying with laughter and playing the real blues all over the UK, Europe, Northampton and JBs Dudley.
There is Whitesnake, yes, but let’s not forget Bernie’s great pop sensibility in his work with Mickie Most in the ’70s. Bernie is a dear friend for life who never actually paid me but taught me so much about playing with empathy, sincerity, emotion, and fucking huge balls that I owe him at least forty quid.
We bonded over Freddie King, who I was lucky enough to see play once. Bernie has Freddie King’s shoes and he’s getting ready to dust his broom in the palace of the king. A perfect hideaway to stumble into while steppin’ out, walkin’ by himself and … sorry I digress as usual – here I go again.’
Elkie Brooks, singer
‘Having always been a huge fan of blues music and its various transitions throughout the years, there is nothing better than to hear it played with style and integrity. Bernie Marsden has both in abundance.
We did not work together until 2002 when I was appearing at the Maryport Blues Festival, Cumbria. Bernie was on the bill with his own band that night and I asked him if he would like to get up and do a few numbers with my band later. It was a special night and the atmosphere in the marquee was electric. Bernie added his own dynamic to our sound and it was a great gig. A few years later I called up Bernie and asked if he would possibly come on the road with us for a few months … so off we went! He was such a marvellous addition and a real pleasure to play with.
Among the stunning array of songs Bernie has written, I really fell in love with “A Place in my Heart”. A real testament to a true talent.’
Bob Harris, broadcaster
‘We first met in 1970, just before I joined Radio 1. I was a DJ at the Country Club, a very cool north London rock venue where Bernie appeared with Skinny Cat. Even now I can remember Bernie’s playing – “just like a ringing a bell”, as Chuck Berry would say. He was a fabulously expressive, economical guitarist. At a time when speed seemed to be of the essence, Bernie’s style was relatively understated but beautifully constructed, already demonstrating his intuitive knowledge of what spaces to fill and how much space to leave. It’s a rare gift.
Since then, as we know, he has enjoyed massive success as a player, writer, Hollywood film score composer and a member of one of the biggest bands in the world but despite all the head-turning fame, he has always kept his feet on the ground.
Recently, Bernie joined me in my home studio to play an acoustic session for my TeamRock show, Bob Harris Rocks, a full-circle moment. He has deep respect for and amazing knowledge of the players who helped influence his style and who laid the foundations of so much of the music we’ve loved and supported these past forty-six years.
It feels good to have known Bernie all this time and to have shared many great moments. They all really mean a lot. I have massive respect for him as a superb musician but even more than that, I cherish him as a friend.’
Jack Bruce, Cream
‘When I saw Bernie leaving Abbey Road Studios as I arrived, I said to him, “Turn around, man, you’re playing on my new album!” This was the best move I ever made. Bernie’s delicacy of touch hides the great power of his playing. He has that amazing quality of making every note sound like the only possible note that could be played – and that’s before you consider the depth of his sound. He is simply fantastic.’
BB King
Email from Juergen Hoelzle of FRS Radio Stuttgart: ‘In 1996 I had the pleasure of interviewing BB King for my radio show. We talked of many things, I don’t need to give you a breakdown. Well, except one thing, which it has occurred to me that you might not be even aware of. Near the end I asked, “Can white men feel and sing the blues?”
His answer surprised more than a few people and the room was buzzing when he said, “Most of them don’t ’cos they do not have the soul for it, sure they can play the blues, but that’s not the point. You have to feel the blues, you must go deep into the blues, open your mind and soul. In my opinion there are only a handful of white musicians in the world who can play the Blues like they should be played: Eric Clapton, Jeff Beck, Peter Green, Jonny Lang, John Mayall, and don’t forget that Whitesnake guy, Bernie Marsden, he got it too. It is not because of their technique, it’s also not their bluesy voices, it’s just simple, they have the blues and that’s it.’
Introduction (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
I first met Bernie Marsden in Musicland Studios in Munich when Paice Ashton Lord (PAL) had come to town to make their debut album, Malice in Wonderland. I’d popped in to say hello. Bernie was the singer and guitarist with PAL. I found him welcoming, charming and personable. Who could have known that within a few years we’d be making Whitesnake a band to be reckoned with worldwide?
The second time I saw him was in London. PAL had folded and Bernie quite boldly suggested himself for the band I was putting together after Deep Purple. He immediately established himself by playing and singing great, and bringing his excellent sense of derisive humour to the mix, which was a huge part of early Whitesnake.
Bernie, Micky and I wrote the songs that created Whitesnake’s sonic identity and helped to make the band a household name. The vocal blend of the three of us worked refreshingly well and our choruses inspired the creation of the Almighty Whitesnake Choir – ah, sweet memories.
Bernie was truly an invaluable band-mate, friend, musician and co-composer of many of my favourite Whitesnake songs, particularly ‘Walking in the Shadow of the Blues’ and ‘Here I Go Again’, probably our most recognised and successful song. It has served us and continues to serve us very well, hasn’t it, ol’ son?
’Tis a biggie, for sure …
I am so happy we are back in each other’s good books and get to jam together whenever I have the pleasure of performing in our home country.
Happy trails, ol’ chap.
David Coverdale, Lake Tahoe, 2019
Preface (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
Over nearly fifty years on the road as a professional musician in different cities, countries and continents, I have often thought about Brian Davies.
Brian was a couple of years above me at secondary school in the Sixties in Buckingham, my home town just north-west of London. He was always friendly to me and was an all-round good guy. I remember him being a particularly good athlete: good at running, long jump and javelin. His girlfriend at the time was Diane Jones, someone who I secretly worshipped from my lowly position in the younger classes. I played football with him at school and later for Buckingham Town Juniors. I was a decent enough player but I always thought that he was a very good footballer.
As far as I could see, Brian Davies had it all. We got along well without being close friends. He left school two years before I did, but we still saw each other at football games and sometimes at the pub when I might have been playing the guitar. My playing had always fascinated Brian.
The last time I saw Brian was in 1970 at the corner of Buckingham’s West Street and School Lane, where we had a short chat. He said he was no longer with Diane Jones and that he hadn’t been able to play football much of late. I told him that I still wanted to be a professional musician; Brian and I had often talked about our dreams. I thought he looked a little grey. Under his arm he carried an old-fashioned glass medicine bottle full of a lurid green liquid. I told him not to drink too much of it: whatever was inside looked as though it might kill him. I could not have been more wrong about that – he had actually been prescribed it to treat a cancer, Hodgkin’s lymphoma. Brian passed away later that same year. I was deeply shocked. He was so young, just 21, and I was only 19. Brian had always encouraged me to be a professional musician. He championed my ability and said that I shouldn’t ever give up. I still think about Brian Davies a lot.
At every milestone I have reached, a little piece of Brian has been there with me. Whether it was stepping off the plane for the first time in Japan, getting the phone call to say ‘Here I Go Again’ had reached US No. 1, or receiving my honorary degree from the University of Buckingham, I’ve always thought of him.
1.
New York, New York, 1980 (#u8d7235fb-a75f-5c2f-9ea5-df51b3810459)
On 9 October 1980, the Whitesnake tour bus driver drove over the Brooklyn Bridge and into Manhattan. My mind was racing and I was full of excitement although I tried to appear cool. At last I was in New York City.
David Coverdale walked up the bus, smiling, and shook my hand. He knew what it meant to me. He had been the one to shake my hand the first time I landed in the USA, in San Francisco. He had felt the same the first time he came here, with Deep Purple. I stared at the skyscrapers. It seemed as though there were so many. I couldn’t wait to see Times Square, the Brill Building, Radio City, and Carnegie Hall.
My thoughts drifted to the shows I had done at school concerts, carnivals, wedding receptions, pubs and birthday parties, and in village halls. I felt a huge sense of nostalgia. I looked around the bus, taking in the musicians I was playing with: Jon Lord, Ian Paice, Neil Murray, Micky Moody, and David Coverdale, all now in the same band as me.
Madison Square Garden – here I come.
This had been a huge goal for me since my teenage years, when I listened to live boxing on my portable radio from MSG. I explored the venue by myself when we arrived. I felt like a kid. I wanted to find those boxing dressing rooms and be able to stand in the very spots Joe Louis, Rocky Marciano, Joe Frazier, Muhammad Ali and the Raging Bull himself, Jake La Motta, prepared for the biggest fights of their lives. Marilyn Monroe sang ‘Happy Birthday’ to JFK here, and the likes of the Jackson 5, Stevie Wonder and Alice Cooper had performed there.
Whitesnake would open for Jethro Tull that night in front of some 15,000 people as part of our US tour. I had been frustrated many times in previous years by tours in the US being cancelled for various reasons but now all of that was unimportant. It had taken less than eight years to go from my local town hall to Madison Square Garden. No time at all really.
We stayed at the famous Navarro Hotel, a magnificent gothic building overlooking Central Park. Its residents included film stars, poets, musicians, singers and artists and Jacqueline Susann wrote Valley of the Dolls there in the 1940s. Musical guests included Jimi Hendrix, the Kinks, the Rolling Stones, the Grateful Dead and Jim Morrison. I shared an elevator with actor James Caan when I arrived. Sonny Corleone and me in a lift! I tried to be the cool Englishman as Mr Caan smiled, ‘Nice socks.’ I had completely forgotten that I was holding a spare pair lent by Mick Moody. ‘Take care with those socks,’ said James Caan as he got out.
Whitesnake had no creative management whatsoever but had managed to get to America. That was testament to how together we were at the time. We were ready and it was our time to go global. I was back on the bus and heading for Madison Square Garden in no time. The gig was over far too fast. Jethro Tull’s audience liked us a lot, although we were practically unknown in America. Jon Lord and Ian Paice received the biggest recognition as Deep Purple still meant something to the fans.
Time to break America – that was the plan. But plans don’t always work out, do they? Let’s go back to the start.
2.
Going to my Home Town (#litres_trial_promo)
I was born on 7 May 1951 in Westfields estate in Buckingham, an extremely quiet town of between 2,000–3,000 souls. My mum and dad were working-class parents and, boy, did they work hard. When I was four we moved to a brand-new council house in Overn Avenue. This was a triumph – my parents had earned their new house, and they loved it. It was my castle.
