Best known as the bassist for the Electric Light Orchestra from 1972 to 1974, Michael de Albuquerque has far more strings to his musical bow than you might think. Not only does he have a splendid 1971 jazz fusion album, First Wind (with percussionist Frank Ricotti) under his belt, but also two much sought-after solo albums, both of which feature Patto guitarist Ollie Halsall. He was also the guitarist in Violinski with ELO compatriot and violinist Mik Kaminski.
Beyond that, he played on soul singer Maxine Nightingale’s 1976 debut Right Back Where I Started From – the title track of which hit the UK’s Top 10 – and his own songs have been covered by Tim Hardin and the Lovin’ Spoonful’s John Sebastian, among others. In the early 80s, he also featured in Sundance alongside Those Were The Days singer Mary Hopkin.
Although he’s kept a low profile over recent years, his back catalogue is now beginning to be re-released and he couldn’t be more excited: “I’m thrilled to have this preserved so lovingly for posterity,” he says.
You’ve just reissued your first solo album, We May Be Cattle But We’ve All Got Names, 51 years after its original release. Why did it take so long?
The simple answer is that while there’s been some sporadic enthusiasm for a reissue over the years, no one has actually come forward with a feasible proposal until very recently. When Think Like A Key Records presented me with their finished product, I was delighted and gave the green light.
Listening again to the contributions made by Frank Ricotti, Chris Laurence, John Taylor and Gordon Beck in particular makes me very proud of what we achieved in 1973. As for Ollie Halsall, we all think his playing throughout the album represents his greatest work outside of Patto.
Can we expect to see a reissue of 1976’s Stalking The Sleeper at some point?
Yes, we’re hoping to reissue both First Wind and Stalking The Sleeper, and perhaps include some of my Violinski compositions as bonus tracks.
You released the jazz fusion album First Wind with Frank Ricotti in 1971. Was that always intended as a one-off?
Not really, no. I’d have very happily played with Frank Ricotti, John Taylor and Chris Laurence forever if circumstances and financial reward had allowed us to continue. We all had to make a living, unfortunately, so off we went on to great things in the session world and beyond. It was magical to have them play on my songs and I continued to use them on my projects.
How did you join ELO?
It was a recommendation from Ed Welch, I think. He wrote my first single, Better Man Than Me, and I produced, played bass and sang on his 1971 album Clowns, on which the late Cozy Powell was the drummer. Roy Wood had just left ELO and they needed to get out on the road to capitalise on the success of 10538 Overture.
I wasn’t first and foremost a bassist at that point. I was a singer, writer and guitarist and then a bass player, too, because I loved learning all those fabulous lines created on the Motown records by James Jamerson and Carol Kaye.
How do you look back on your time in ELO?
Well, it wasn’t entirely what I had in mind for my career at that stage but it was a job – a good job at that time – and I had a lot of fun for much of it. I was never told what to play and all arrangement suggestions were graciously received. It wasn’t a period of great personal professional satisfaction for me, in all honesty. My musical preference was in a bit of a different direction.
I met some of my musical heroes on those early tours of the USA – that was a thrill. Bassists Robert Popwell, Willie Weeks and James Jamerson, in particular. I think we captured a little bit of a Motown vibe on Showdown: I’m proud of that and it still snaps, crackles and pops along nicely whenever I hear it on a radio.
How was it working with your old ELO colleague, Mik Kaminski, in Violinski? You played guitar for them, didn’t you, not bass?
I always got on well with Mik; and yes, I was a guitarist before I ever played any bass, so it was quite natural for me. The drummer was superb – John Hodgson, his live playing was electrifying. There are some great tracks on our second release, Stop Cloning About, and I enjoyed playing with keyboardist John Marcangelo, who’s an outstanding talent.
Tell us about Sundance, which you were in with musician and producer Mike Hurst and Mary Hopkin.
Mike and I were Oxfordshire neighbours and we’d done work together over the years. One day he said, “I’ve had an idea: three voices. Let’s ask Mary.” We tried it, it sounded great, so we recorded, toured and did TV. We had a lot of fun.
Mike is like round-the-clock entertainment with his stories of the business! He felt it incumbent to extend hospitality to his new Henley neighbour, so marched down to Friar Park to ask George Harrison to tea. The front door opened to reveal a Formula 1 car in the hall! “Good grief,” said Mike. “What on earth is that doing in there?”
“Good question,” replied George. “We made it from a kit and now can’t work out how to get it out of here!”
Mary wasn’t well at the time, so couldn’t continue. She is delightful and we were sorry to see her go.
One of the bands I fronted became quite busy and successful… it even became modestly lucrative
You seem to have remained largely out of the spotlight ever since. What have you been up to?
I think most of us know that the music business isn’t actually a very nice business to be in and around. My wife and I have had an antiques business for over 40 years, which is still up and running. It pays the bills and is always fascinating.
I never stopped playing, though; I just did it on more of a recreational basis for a long time. One of the bands I fronted, The Rubber Band, became quite busy and successful on the private party circuit for many years. It even became modestly lucrative.
Do you ever hear from Jeff Lynne or any of your old ELO bandmates?
No, but I did meet Roy Wood more recently and we became friends. I was always a big fan of Roy. Three of my bandmates – Richard Tandy [piano], Wilf Gibson [violin] and Hugh McDowell [cello] – have died from cancer, and Mike Edwards [cello] was killed by a giant hay bale while driving in Devon. What a truly rock’n’roll way to go.
