Be it backing up Dave Edmunds, Nick Lowe or Chrissie Hynde as a member of the gone-way-too-soon Rockpile (which featured Edmunds and Lowe) or peeling off nifty solo records, Scottish guitarist Billy Bremner has merged the worlds of good-time rock ’n’ roll and rockabilly for more than 50 years.
One look at his discography, which includes records like Lowe’s Jesus of Cool (1978) and Labour of Lust (1979), Edmunds’ Repeat When Necessary (1979) and the Pretenders’ Learning to Crawl (1984), shows his versatility. And that’s probably one reason he detests being boxed into the rockabilly category.
“I’ve said it before, but I don’t classify myself as a rock ’n’ roll or rockabilly player,” Bremner says. “I would listen to Joe Pass, Hank Garland, Chet Atkins… I was trying to be as all-around as I could be.”
Bremner was able to be “all-around,” not just stylistically but literally, as he spent the ’80s palling around with everyone from Lowe and Edmunds to Elvis Costello and Pat McLaughlin. Along the way, he’s managed to drop five solo records, with the first being Bash! (1984), which Bremner didn’t care for at first, and the latest, 2018’s Singled Out.
But as great as those records – and his dizzying array of sessions – have been, what Bremner is probably best known for is his membership in Rockpile alongside old pals Lowe, Edmunds and newcomer (at the time) drummer Terry Williams, which manifested as their only studio record, Seconds of Pleasure (1980).
Bremner admits he wishes Rockpile had lasted longer, but songs like Teacher Teacher, If Sugar Was as Sweet as You and A Knife and a Fork have stood the test of time. Thankfully, in 2011, we were given Live at Montreux, which was recorded in 1980 and showcased Rockpile’s pop-meets-rockabilly majesty.
In the years since his heyday alongside Edmunds and Lowe, Bremner lent his licks to iconic tracks while standing in for the fallen James Honeyman-Scott, though he insists he was never a full-fledged member. Still, his presence led to classics like Back on the Chain Gang and My City Was Gone. Not too shabby for a stand-in.
Hundreds of sessions and dozens upon dozens of records later, at 78 years old, and six years removed from his last studio record, Bremner is taking it slow and easing into quasi-retirement. But if you ask him, he’d tell you he’s not done yet. “I can’t do anything else but write songs and play live! I wouldn’t change a thing. I regard myself as being lucky to be doing what I do.”
What inspired you to pick up the guitar, and who were your earliest influences?
“I always loved the sound of the guitar – all the styles and techniques. I loved things like the acoustics on the Everly Brothers records, such as the intros to Bye Bye Love and Wake Up Little Susie. But I also loved the electric guitars on those Everly Brothers records, like the intro to Don’t Blame Me.”
Can you remember your first guitar?
“I was so jealous of my cousin! He was given a guitar for his birthday, but he was not interested in playing, so I kind of “borrowed” it and taught myself, all while not knowing how to tune it. [Laughs]”
Growing up, what sort of scene was around you, and were there any local musicians who inspired you?
“No local musicians were inspiring; we were literally all listening to great guitar players on records in the late ’50s and early ’60s.”
Tell me about joining the Luvvers in the ’60s. It didn’t last long, right?
“No, it didn’t. Lulu [Kennedy-Cairns] left the band before I joined. Honestly, they were all great guys, but not the best band in the world.”
There was a famous Scottish footballer with the same name as me. So, on some of my early songs, I’d use my middle name, Murray
From there, how did you end up recording under the name Bill Murray in the early ’70s?
“That happened because there was a famous Scottish footballer with the same name as me. So, on some of my early songs, I’d use my middle name, Murray.”
How did you first meet Dave Edmunds and Nick Lowe, and how did you end up recording with him?
“Dave and Nick used to come and see me play. I was with a band called Neil Innes & Fatso. And then, one day, we all had a chat about forming a band with [drummer] Terry [Williams], who I had never heard of before.”
Tell me about your guitar and amp setup when you recorded albums like Repeat When Necessary – especially on Sweet Little Lisa.
“I’ve used so many guitars over the years, but I think at the time, I was mainly playing a Gibson L6-S. As for Sweet Little Lisa, all I can remember is just being so knocked out by Albert Lee’s guitar playing!”
How about Nick Lowe’s Cruel to Be Kind?
“The main thing I really remember was that I was still using my Gibson L6-S. Also, I played the solo on Cruel to Be Kind, and I more or less arranged [it], too.”
What led to the merging of those worlds and the formation of the Rockpile?
“As I sort of said earlier, when Dave and Nick would come and listen to me play at the same time, we all got together, had a long chat and ended up deciding to form a band. And we chose Terry as the drummer.”
What gear did you bring to the studio to record Seconds of Pleasure?
“I can’t remember the acoustic guitar I brought in, but as I do remember, I think it was that same Gibson L6-S. As for my amps – no idea! I had a lot of them at the time. [Laughs]”
Why did Rockpile make only one record? Do you regret not making more?
“We had some good songs, like Teacher Teacher, which I actually don’t think Dave was involved in. It was so long ago and I don’t remember. But we did make a few records together; the last one was as Rockpile, which was used as a band name. Of course, I would have liked to have made many more together.”
You’ve got a credit on Trust, one of Elvis Costello’s 1981 albums, but not much info exists. What’s the story there?
“I would have to know the song titles [Bremner played on Costello’s Love for Sale, which was recorded in 1980 or 1981 but didn’t appear until the 1994 Rykodisc reissue]. All I know is that Nick Lowe used to produce all of Elvis’ records, and that’s why we got involved.”
From there, how did you end up with the Pretenders? Did you know James Honeyman-Scott?
“Yes, I knew James. He was a great friend, and it was an honor to play in his place. But I was never [officially] in the Pretenders; I played on a few things with the band. Again, it happened because of Nick’s involvement. And even with the Pretenders, I always used the same equipment, which was probably that Gibson L6-S or whatever else I was using at the time.”
Do you remember recording Back on the Chain Gang and My City Was Gone?
“It was my Gibson L6-S. As I recall, Chris Thomas produced that session, and I know he and Chrissie [Hynde] liked the guitar fills and solo that I did. But I don’t remember much else beyond that; it was so long ago. As for My City Was Gone, I totally made it up as the song went on!”
Do you have a favorite solo record?
“I didn’t like Bash! very much at the time, but I must admit, I got used to it after a while. [Laughs]”
Looking back on your career, which album or song you’ve recorded is the most important to you?
“I used to be solely a studio musician and have played on hundreds of records over the years. Having said that, it’s my favorite record, but I really enjoyed making [the song] Shatterproof a lot.”
Is there one guitar that you’ve hung onto that means the most?
“No. A few guitars have been stolen from me over the years, though. I don’t have any of my original collection, and now, I have no particular favorite.”
