Earl Slick played guitar on stage for David Bowie, on and off for 40 years, so he has some insight into the psychology of being a sideman – a professional musician in the service of a big ego. “Most of the time we’re invisible,” he says. “Ghosts at the top table.”
Slick took an unusual leading role in Rock’n’Roll Guns for Hire: The Story of the Sideman (BBC4), exploring what it takes – and what it means – to have a career based on facilitating someone else’s vision. Even in this he was overshadowed, as big names offered their perfect sideman’s job description. “The better you are at your job, the less people will notice you,” said Keith Richards. “And that’s the whole point.”
In fact, all of the Rolling Stones turned out to heap measured praise on Bernard Fowler, their long-serving back-up singer, arranger and person in charge of remembering how all the songs go. The Stones seem utterly reliant on him.
We were also introduced to Wendy and Lisa of Prince and the Revolution fame; Crystal Taliefero, who played just about everything for Billy Joel; and legendary Stax guitarist Steve Cropper, whose co-writing credits on a string of hits make him a rare creature – a sideman with a pension.
Sidefolk, it’s clear, have to put up with a lot of nonsense. Rock stars seem terribly keen on summoning people in circumstances shrouded in mystery: you’re told to go to the airport without being informed of your destination, and you end up in a studio in London, where Mick Jagger walks in and says he’s looking forward to working with you. It’s like auditioning for Dr Evil.
At 90 minutes, this was too long by half an hour – we spent a lot of time learning what they were up to these days – but it was still a frank and fascinating glimpse into an overlooked profession. The sidies interviewed were unfailingly humble – although one got the feeling they might tell a different story when drunk. That would make a brilliant part two.
