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Greg Ridley
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Greg Ridley
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Key Information

Alfred Gregory Ridley (23 October 1947 – 19 November 2003)[1] was an English bassist who was the bassist and a founding member of the rock band Humble Pie and Spooky Tooth.[2]

Career

[edit]

Ridley was born in Carlisle, Cumberland, England. Early in his career he played under the name Dino as guitarist for "Dino & the Danubes" before joining bands such as the Ramrods. Ridley and Mike Harrison formed The VIPs in 1963, playing blues-based music. The band added guitarist Luther Grosvenor and organist/pianist Keith Emerson, who stayed for a brief period of time before leaving and forming The Nice. Subsequently, the VIPs changed their name to Art, for the album Supernatural Fairy Tales and then, with the addition of American keyboardist Gary Wright, to Spooky Tooth[3] in 1968. Spooky Tooth signed to Island and recorded two albums It's All About (1968) and Spooky Two (1969).[4]

In January 1969, Ridley was approached by Steve Marriott from the Small Faces,[2] who was part of a new band, to be called Humble Pie. The line up also included Humble Pie founder and guitarist Peter Frampton from The Herd and drummer Jerry Shirley. Humble Pie's first album As Safe As Yesterday Is was released, and a second album, Town and Country, was also released in the same year. A contract with A&M Records and a re-working of their sound into a harder brand of music, coupled with extensive touring of the United States followed. A double album Performance Rockin' the Fillmore, featuring a now-historic recording of a raw performance of rare quality, catapulted Humble Pie into rock history. Ridley's powerful bass playing anchored the band's performance and was at the centre of their sound. Together, Ridley and drummer Jerry Shirley comprised one of the most respected rhythm sections in rock music during this period. Although Ridley rarely sang lead vocals, his deep baritone was frequently used to provide contrast with the higher tenors of Marriott and Frampton. Ridley made several songwriting contributions, including "Sucking on the Sweet Vine" on Humble Pie, "The Light of Love" on Town and Country, and "Big George" on Rock On.

This incarnation of Humble Pie continued until 1975 and Ridley left the music business, after finishing an unreleased album with Marriott and abortive attempts with bands such as Mike Patto and Ollie Halsall's band Boxer. Ridley moved to Gloucestershire and lived in a stone cottage in the Forest of Dean with his girlfriend. He found the peace and quiet of country life a pleasant and refreshing change to touring and recording. He became involved in the antique furniture business, and throughout the 1980s, he was a low-key antique trader and stripped pine furniture for other traders as a business.

On 14 April 2001, he appeared with Jerry Shirley, Peter Frampton and Clem Clempson, billed as a one off Humble Pie re-union, at a Steve Marriott Tribute Concert.[5] Earlier that year, he had also become involved with a Humble Pie project initiated by Jerry Shirley's reactivation of the group,[6] and the enlisting of another former Humble Pie guitarist and vocalist Bobby Tench. This resulted in the album Back on Track, released by Sanctuary in 2002, and a short tour of Germany with Company of Snakes during the early part of 2003. The project was cut short when Ridley became ill.

Death

[edit]

On 19 November 2003, Ridley died in Alicante, Spain, of pneumonia and resulting complications. He was 56.[7] His funeral was paid for by a concert organised by harmonica player Dave Hunt.

Discography

[edit]

The VIP's

[edit]
  • Singles:
  • Don't Keep Shouting at Me / She's So Good (RCA Victor [UK], 1964)
  • Mercy Mercy / That's My Woman (Philips, 1966)
  • Wintertime / Anyone (CBS, 1966)
  • I Wanna Be Free / Don't Let It Go (Island, 1966)
  • Straight Down to the Bottom / In A Dream (Island, 1967)
  • EPs:
  • Stagger Lee / Rosemarie / Late Night Blues (1966) - with Keith Emerson on piano & organ
  • What's That Sound (For What It's Worth) / Come on Up / Think I'm Going Weird / Rome Take Away Three (1967)
  • I Wanna Be Free / Don't Let It Go / Smokestack Lightning (1967)
  • Straight Down to the Bottom / Back into My Life Again / Every Girl I See / In A Dream (1967)
  • Compilations:
  • Live at Twen Club 1966 & More (1990)
  • I Wanna Be Free (1990)
  • The Complete VIP's (2007) 2-CD

Art

[edit]
  • Supernatural Fairy Tales (1967)

Spooky Tooth

[edit]
  • It's All About Spooky Tooth (1968)
  • Spooky Two (1969)
  • Cross Purpose (1999)

Humble Pie

[edit]
  • Studio Albums:
  • As Safe As Yesterday Is (1969)
  • Town and Country (1969)
  • Humble Pie (1970)
  • Rock On (1971)
  • Smokin' (1972)
  • Eat It (1973)
  • Thunderbox (1974)
  • Street Rats (1975)
  • Humble Pie: The Scrubbers Sessions (1999) (Eagle) - recorded in 1974 with Boz Burrell, Mel Collins, Ian Wallace
  • Back on Track (2002)
  • Live Albums:
  • Performance Rockin' the Fillmore (1971)
  • King Biscuit Flower Hour Presents: In Concert Humble Pie Live 1973 (1995) (King Biscuit Entertainment)
  • In Concert (1996) (King Biscuit Entertainment) - new edition/reissue of the first released version
  • Extended Versions (2000)
  • Natural Born Boogie: The BBC Sessions (2000)
  • Live at the Whiskey A-Go-Go '69 (2002)
  • Performance Rockin' the Fillmore: The Complete Recordings (2013) (Omnivore Recordings) 4-CD Boxset

Collaborations

[edit]
  • Marriott - Steve Marriott (1976) - with Ian Wallace
  • Steve Marriott's Scrubbers - Steve Marriott (1996) - with Ian Wallace

Notes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Greg Ridley

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Alfred Gregory "Greg" Ridley (23 October 1947 – 19 November 2003) was an English rock bassist, singer, and songwriter, renowned as a founding member of the influential bands The VIP's (later ), Spooky Tooth, and during the late 1960s and 1970s British rock scene. Born in Carlisle, , Ridley began his musical career in local groups before co-founding in 1967, contributing to their debut album (1968) and follow-up (1969). His tenure with , starting in 1969 alongside and , propelled the band to international fame, particularly in the United States, where they toured extensively—performing over 200 shows annually—and released landmark albums like (1971), which earned gold status. Ridley's distinctive deep, booming bass tone and versatile playing style defined Humble Pie's raw, blues-infused sound, as heard on hits like "Natural Born Bugie," a No. 4 single on which he provided lead vocals. The band's 1972 album Smokin' was certified gold in the , solidifying their status as pioneers of the genre. After Humble Pie's initial disbandment in 1975, Ridley participated in reunions, including a 2001 tribute to Marriott and the 2002 release Back on Track, while also collaborating in projects like Steve Marriott's All-Stars and the band . Retiring to Jávea, , with his wife, Ridley passed away from and related complications at age 56, leaving a legacy as a foundational figure in playing who emphasized the instrument's role as the "backbone" of a band.

Early life

Birth and family background

Alfred Gregory Ridley was born on October 23, 1947, in Carlisle, (now ), . Details regarding his siblings or specific family dynamics remain limited in available records.

Initial musical experiences

During his teenage years in Carlisle, , Greg Ridley discovered and , which ignited his passion for music. This exposure in the mid-1960s shaped his early enthusiasm for the genre's energetic style and guitar-driven sound. In his late teens, around , Ridley began learning the on his own, without formal instruction, after acquiring his first instrument. Before dedicating himself to music, he worked as a farmer in Carlisle. He practiced diligently, honing his skills through and immersion in the music he admired. Ridley's initial foray into performing came through participation in informal local groups, starting with the short-lived Dino and the Danubes in the early , where he performed under the stage name Dino and played guitar. By 1964-1965, he joined The Ramrods alongside schoolfriend Mike Harrison on vocals and , contributing bass and engaging in amateur gigs around Carlisle that featured covers of popular rock and R&B tracks. These early experiences provided Ridley with his first taste of live performance in the burgeoning local scene.

Career

The VIP's and early R&B influences

Greg Ridley co-founded the British R&B band The V.I.P.'s in in Carlisle, , alongside vocalist and keyboardist Mike Harrison, marking his entry into professional music after developing self-taught bass skills during his teenage years. Initially comprising Harrison on vocals and keyboards, Ridley on bass, Frank Kenyon on , Jimmy Henshaw on lead guitar, and various drummers, the group drew heavily from American blues and R&B traditions, performing covers that honed Ridley's rhythmic, groove-oriented bass lines. The lineup saw changes, including the brief addition of keyboardist in 1965, who contributed to their energetic live sound before departing to pursue other projects. The V.I.P.'s quickly established themselves on the club circuit, touring relentlessly from 1963 to 1967 and building a reputation as a dynamic live act in venues across and beyond. Their setlists emphasized blues-infused R&B covers, such as Don Covay's "Mercy, Mercy," where Ridley's bass provided a solid, walking foundation that echoed influences like Otis Spann and , evident in tracks like "That's My Woman." This period solidified Ridley's technique, blending raw energy with precise support for the band's horn-like guitar riffs and Harrison's soulful vocals. By the mid-1960s, The V.I.P.'s began transitioning from strict covers to original material, reflecting the evolving mod and beat scenes while retaining their R&B core. Key releases included the 1966 single "Wintertime" b/w "Anyone," issued under the name The Vipps on CBS Records, which showcased their growing songwriting ambitions with punchy, original compositions driven by Ridley's propulsive bass. Though commercial success eluded them, these efforts captured the band's shift toward self-penned songs, paving the way for further experimentation without achieving chart breakthroughs.

Transition to Art and psychedelic rock

Following the breakup of The VIP's in early 1967, bassist Greg Ridley collaborated with vocalist and keyboardist Mike Harrison to form the short-lived band , enlisting guitarist from The Underdogs and drummer from The Defenders. Keyboardist joined briefly but soon left to form , leaving Harrison to handle keyboards and lead vocals alongside his singing duties. This lineup represented Ridley's pivot from the blues-R&B sound of his prior work, drawing on the vibrant scene where psychedelic experimentation was flourishing amid influences like the . Art released their sole album, Supernatural Fairy Tales, in late 1967 on the London-based Island Records label, capturing a psych-pop aesthetic with phasing effects, swirling keyboards, and extended improvisations. Ridley provided bass throughout the record, co-writing tracks such as "Room With A View," "Flying Anchors," and "Love Is Real," where his rhythmic foundation—rooted in R&B adaptability from The VIP's—supported the genre's exploratory shifts without overpowering the atmospheric elements. The album's artwork, designed by the influential London collective Hapshash and the Coloured Coat, further tied it to the city's psychedelic visual culture. Despite the promise of their sound, conducted only a limited tour to support the release before dissolving amid internal tensions later that year, paving the way for its members to evolve into the more -infused . This brief venture highlighted Ridley's versatility in bridging R&B grooves with psychedelia's freer structures.

Spooky Tooth era

Following the dissolution of the short-lived psychedelic band , bassist Greg Ridley joined forces with vocalist/keyboardist Mike Harrison, guitarist , and drummer in late 1967 to form , recruiting American keyboardist/vocalist to complete the lineup. This configuration drew heavily from legends like , infusing their sound with raw emotional depth and technical precision. Spooky Tooth signed with and released their debut album, , in 1968, where Ridley's steady, driving bass lines anchored a mix of covers and originals, blending blues-rock with emerging progressive elements. The follow-up, (1969), showcased Ridley's prominent bass work, particularly on the track "Better by You, Better Than Me," where his rhythmic foundation supported the song's intense, -tinged dynamics. While songwriting was primarily led by and Harrison, Ridley's contributions as a performer helped define the band's gritty fusion of soulful vocals, blues riffs, and heavy rock grooves. The band toured the in 1969, building a through high-energy performances that highlighted their experimental blues-rock style, though internal tensions arose amid the pressures of the road and recording schedule. These factors contributed to the original lineup's fracture later that year, with Ridley departing to pursue new opportunities, marking the end of Spooky Tooth's formative phase.

Humble Pie formation and peak years

Humble Pie was founded in early 1969 when bassist , fresh from his tenure with , teamed up with former frontman on vocals and guitar, ex-Herd guitarist , and teenage drummer . The group coalesced in Shirley's family home in , , with the aim of creating a more robust, serious rock sound that moved beyond the mod and teen-oriented vibes of their prior bands. Building briefly on the blues-rock foundation Ridley had established in , Humble Pie quickly evolved toward a harder-edged style blending raw R&B, boogie, and emerging heavy rock elements. The band's early output reflected this transition, starting with their debut album As Safe as Yesterday Is in August 1969, which showcased a mix of psychedelic influences and gritty blues covers produced by . Later that year, they released Town and Country, a featuring acoustic folk-rock on one disc and electric on the other, where Ridley contributed songwriting to tracks like "The Light of Love." Their self-titled third album arrived in 1970, solidifying a bolder, more aggressive sound, while 1971's Rock On pushed further into high-energy boogie and soul-infused rock. That same year, the live Performance: Rockin' the Fillmore, recorded at New York's , captured their explosive stage presence and became a breakthrough, with Ridley's driving bass lines prominently featured on the extended cover of "." Humble Pie achieved significant commercial success in the United States during the early 1970s, particularly after signing with , where peaked at No. 21 on the and helped establish them as a touring powerhouse. However, internal tensions began to mount, exacerbated by Frampton's departure in 1971 over creative differences and Marriott's escalating drug use and personal turmoil, including a deteriorating . Despite lineup changes—such as Dave "Clem" Clempson replacing Frampton—and continued releases like Smokin' (1972), which reached No. 6 on the US charts, the band's cohesion frayed amid record label pressures and declining inspiration. These strains culminated in 's breakup in 1975 following the release of , marking the end of their initial peak era.

Later reunions and sporadic work

Following the dissolution of Humble Pie in 1975 amid internal tensions over creative direction and finances, Ridley pursued several short-lived projects. He contributed to an unreleased album with former bandmate , recorded in the mid-1970s but shelved due to the band's breakup. Ridley also briefly joined Marriott's All-Stars for informal sessions and formed the short-lived with guitarist Dave "Clem" Clempson and drummer around 1976, though the group advanced only to rehearsals without releasing material. Additionally, he explored collaborations with bands like Boxer, led by Mike Patto and Ollie Halsall, but these efforts did not materialize into full commitments. Efforts to revive Humble Pie in the 1980s faltered, with Ridley declining involvement in the 1979-1981 reunion that produced albums On to Victory (1980) and Go for the Throat (1981), as he had largely stepped away from the industry. A more successful full reunion occurred in 2001, featuring Ridley alongside original drummer Jerry Shirley, vocalist Bobby Tench, and guitarist Dave "Bucket" Colwell; the lineup toured North America that year, marking Ridley's return after nearly two decades of limited activity. This iteration culminated in the album Back on Track, released in 2002, which blended the band's classic hard rock sound with updated production and included tracks like "Sorrow" and "Red Light Mama, Red Hot!" Ridley's involvement in the was limited to sporadic sessions, most notably his return to for their reunion album Cross Purpose (1999), where he played bass on all tracks alongside vocalist Mike Harrison, guitarist , and drummer . He also made a one-off appearance at the Steve Marriott Memorial Concert at London's Astoria in April 2001, performing with Shirley, , and Clempson to honor the late frontman. By the early 2000s, following the tour and album, Ridley gradually withdrew from professional music due to health issues, occasionally playing locally in with drummer but ceasing major commitments.

Musical style and influences

Bass playing technique

Greg Ridley developed his skills through practical experience in northern English bands during the early . He primarily employed fingerstyle technique, prioritizing a strong sense of groove and incorporating bluesy fills to underpin ensemble dynamics. This approach allowed him to create a solid rhythmic foundation while adding melodic flair, reflecting his roots in and R&B traditions. Throughout his career, Ridley favored the for its robust tone and reliability, using it consistently from his time with the V.I.P.'s through to and beyond. He paired this instrument with vintage Acoustic 360 amplification to achieve a thick, full bottom end that emphasized power and clarity in live and studio settings. His setup contributed to a soulful, bold sound characterized by harmonic extensions and free-form phrasing, often positioning him as a central figure on stage. Ridley's style evolved across genres, adapting to the demands of each band. In the V.I.P.'s, he delivered R&B walking bass lines that drove the group's tough, rhythm-oriented sound. During his stint with Art and later , he incorporated psychedelic sustain and experimental elements, blending with atmospheric depth on albums like . In , his playing shifted to a drive, featuring dynamic octave jumps and intense energy, as heard in live recordings from East on . This progression highlighted his versatility, always maintaining a groove-centric foundation influenced by progressive and rock developments of the era.

Songwriting and vocal contributions

Greg Ridley made notable contributions as a songwriter during his time with , co-authoring tracks that blended -rock energy with introspective themes. On the band's 1970 self-titled album, he penned "Sucking on the Sweet Vine," a soulful number exploring longing and emotional release, where he also delivered the lead vocals. His writing often drew from traditions, emphasizing raw narratives of love and personal struggle, as seen in collaborative efforts like "Hot 'n' Nasty" from the 1972 album Smokin', co-written with , Dave Clempson, and to capture the gritty exuberance of rock excess. Ridley's vocal work complemented his songwriting, showcasing a gravelly that added depth to band harmonies and occasional leads. In , his robust backing vocals enriched tracks like "Black Coffee" from the 1973 double album Eat It, providing a soulful layer to the Ike and Tina Turner cover amid the group's high-energy delivery. Earlier, with The VIP's, he contributed featured vocals on singles such as "Wintertime" (1966), infusing R&B-inflected leads with a gritty tone that foreshadowed his later rock style. His harmonies also supported covers like Spooky Tooth's rendition of "The Weight" on Spooky Two (1969), enhancing the track's communal feel through layered interplay. Ridley's creative input thrived in collaborations, particularly with Marriott in Humble Pie, where their joint songcraft fused Marriott's fiery riffs with Ridley's grounded, hardship-tinged lyrics, and with Mike Harrison in The VIP's and , yielding blues-inspired tales of resilience and romance. These dynamics highlighted his role in shaping the bands' thematic core around love's triumphs and trials, often rooted in British R&B influences.

Personal life

Relationships and family

Greg Ridley was married, though details regarding his or the specifics of the remain largely undocumented in . No confirm whether he had children, and such information is not widely available. The relentless touring demands of Humble Pie in the 1970s exerted significant pressure on band members' personal lives, with the group's hedonistic lifestyle contributing to overall strains during this period. Ridley shared enduring friendships with key collaborators, including co-founder , with whom he formed a strong creative bond starting in 1969. He also maintained a close rapport with , another originator; Frampton later recalled knowing Ridley well in his final years, describing him as a "true gentleman" for whom he held deep respect. These ties extended beyond the band's active years, as evidenced by Ridley's participation in the 2001 Steve Marriott memorial concert alongside Frampton and drummer .

Retirement and non-musical pursuits

Following the dissolution of Humble Pie in 1975, Ridley retired from full-time music, settling in rural , including in . He embraced the peace and quiet of the countryside, a stark contrast to the rigors of years touring with his bands. He later relocated to Jávea, , with his wife, seeking a quieter life. Ridley faced financial challenges after his career, with most earnings lost to accountants.

Death and legacy

Final years and illness

In his later years, following retirement from music, Greg Ridley relocated to Jávea on the in , seeking a fresh start after recovering from throat cancer diagnosed in 2002. He continued to pursue non-musical interests, including his longstanding involvement in the , where he had previously worked as a trader and restorer in the . In late 2003, Ridley fell ill with , leading to hospitalization in . The infection resulted in severe complications that proved fatal, and he died on 19 November at the age of 56.

Tributes and lasting impact

Following Greg Ridley's death in , he received formal recognition through obituaries in major British publications, highlighting his foundational role in British rock. described him as a key figure whose bass work helped "barnstorm" across America in the early 1970s, emphasizing his contributions to the band's raw energy. A memorial concert was held on November 20, 2004, at the Carling Academy in , , featuring surviving Humble Pie members Jerry Shirley and Clem Clempson, along with guests including Peter Frampton, Bob Tench, and Mike Harrison. This event honored Ridley's legacy as a and vocalist, drawing together musicians from his era to perform selections from his catalog. Ridley's lasting impact lies in his contributions to bridging 1960s R&B roots with 1970s hard rock, particularly through 's fusion of snarling and muscular grooves, as heard on gold-certified albums like Performance: Rockin' the Fillmore (1971) and Smokin' (1972). His thick, bluesy basslines—often played on a through amplification—provided a driving foundation that influenced the genre's shift toward heavier, soul-infused sounds. This approach helped shape subsequent acts, with bands like drawing from 's blueprint of raw R&B-edged . Posthumously, Ridley's songwriting has endured through covers by later artists, such as Killdozer's 1988 rendition of "Hot 'n' Nasty" on their album Uncompromising War on Art Under the , and Pat Travers' 2006 version of "Stone Cold Fever" on . These reinterpretations underscore his influence on rock bassists and songwriters, maintaining his place in histories of British blues-rock innovation.

Discography

With The VIP's

Greg Ridley provided bass on all recordings by The V.I.P.'s during his time with the band from 1963 to 1967. The group did not release any full-length albums during their active period, focusing instead on singles in the British R&B style. The band's singles featuring Ridley's bass work include:
  • "Don't Keep Shouting at Me" b/w "She's So Good" (RCA Victor, 1964). Ridley played bass on both tracks.
  • "Wintertime" b/w "Anyone" (, 1966, released as The Vipps). Ridley played bass on both tracks.
  • "I Wanna Be Free" b/w "Don't Let It Go" (Island, 1966). Ridley played bass on both tracks.
  • "Mercy Mercy" b/w "That's My Woman" (, 1966). Ridley played bass on both tracks.
Tracks from these singles appeared on 1980s reissues and compilations, such as "I Wanna Be Free" on a 1987 International release. Posthumous collections credit Ridley on bass for the compiled material, including The Complete V.I.P.'s (Repertoire Records, 2006), a two-CD set featuring remastered singles and live tracks from the era.

With

Art's only album, Supernatural Fairy Tales, was released in December 1967 on in mono format, featuring Greg Ridley on for all tracks. Ridley, alongside bandmates Mike Harrison (vocals, piano), (guitar, vocals), and Mike Kellie (drums), co-wrote the majority of the original compositions, marking an early songwriting collaboration that showcased the band's shift toward psychedelic influences. Produced by , the album blends covers and originals, with Ridley's bass lines providing a solid rhythmic foundation amid the emerging psych elements. The band issued one single prior to the album's release: "What's That Sound (For What It's Worth)" backed with "Rome Take Away Three," both from July 1967 on (WIP-6019). The A-side is a cover of Buffalo Springfield's "," adapted by the group, while the B-side is an original co-written by Ridley, Grosvenor, Harrison, and Kellie.
TrackTitleWritersDuration
A1I Think I'm Going WeirdRidley, Grosvenor, Harrison, Kellie3:21
A2What's That Sound (For What It's Worth)Stephen Stills2:49
A3African ThingRidley, Grosvenor, Harrison, Kellie4:06
A4Room with a ViewRidley, Grosvenor, Harrison, Kellie3:40
A5Flying AnchorsRidley, Grosvenor, Harrison, Kellie3:02
A6Supernatural Fairy TaleRidley, Grosvenor, Harrison, Kellie3:32
B1Love Is RealRidley, Grosvenor, Harrison, Kellie3:55
B2Come On UpRidley, Grosvenor, Harrison, Kellie2:41
B3Brothers, Dads and MothersRidley, Grosvenor, Harrison, Kellie2:11
B4Talkin' to MyselfRidley, Grosvenor, Harrison, Kellie3:10
B5Alive Not DeadRidley, Grosvenor, Harrison, Kellie2:36
B6Rome Take Away ThreeRidley, Grosvenor, Harrison, Kellie2:40
(Track durations and writers from original UK mono LP ILP 967; Ridley performed bass on every track.) In the , the saw reissues on CD by labels such as Repertoire Records (2000) and Universal (2006), often including bonus tracks like stereo mixes of album cuts and outtakes such as "Madman Running Through the Fields" (an early recording featuring Ridley's bass) and alternate versions of "Room with a View" and "Flying Anchors." These expanded editions highlight Ridley's consistent contributions to the band's sole recording project, preserving the material for later audiences.

With Spooky Tooth

Greg Ridley served as the bassist for during the band's formative years, contributing to their early blues-rock sound from 1967 to early 1969. The group's debut album, , released in July 1968 on , featured Ridley on bass and backing vocals across its mix of original compositions and covers, including the track "Society's Child," where he provided electric bass and vocals. Produced by at in , the album highlighted the band's raw energy, with Ridley's bass lines supporting songs like the psychedelic "It's All About a Roundabout" and the soulful cover "Tobacco Road." In support of the album, released the single "The Weight" in September 1968, a cover of The Band's song, backed with "It's All About a "; Ridley played bass on the recording, contributing to its driving rhythm. The single received airplay but did not chart highly, reflecting the band's growing cult following in the UK and . Ridley's final studio effort with was the 1969 album , released in March on , where he handled all bass duties and occasional backing vocals on tracks such as the Wright-penned "Better by You, Better Than Me," a moody standout later covered by . Engineered by and produced by , the album peaked at No. 44 on the , showcasing extended jams like the 9-minute "Evil Woman" bolstered by Ridley's solid foundation. During this period, the band undertook an early tour in 1969, with Ridley featured on bootleg recordings from shows that captured their live intensity before his departure to join .

With Humble Pie

Greg Ridley joined as a founding member and bassist in 1969, alongside , , and , contributing and backing vocals to the band's blues-rock sound. His rhythmic foundation and occasional lead vocals helped define the group's energetic style during their initial run from 1969 to 1975. The band's debut studio , (1969), featured Ridley on bass across all tracks, blending psychedelic and blues elements. This was followed by Town and Country (1970), where Ridley's bass lines supported the acoustic-leaning tracks, including his co-written "." Humble Pie (1970), often called "The Beardsley Album," showcased a harder edge, with Ridley providing solid bass support on songs like "Big Black Dog." The self-titled effort marked their shift toward and a more commercial rock sound. Subsequent releases built on this momentum: Rock On (1971) highlighted Ridley's contributions to high-energy tracks such as "Strange Days," emphasizing the band's live prowess. Smokin' (1972) became a commercial breakthrough, reaching gold status in the U.S., with Ridley's bass driving anthems like "Hot 'n' Nasty" and his backing vocals adding depth. Eat It (1973), a double album, included Ridley's bass on diverse cuts, including the single "Black Coffee," a cover co-arranged by the band. The final original studio album during his tenure, Thunderbox (1974), featured Ridley on bass for soul-infused rock tracks like the title song, though it struggled commercially. Humble Pie's premier live recording, (1971), captured the original lineup—including Ridley on bass—at New York's , earning gold certification for its raw energy on extended jams like "Four Day Creep" and "I Don't Need No Doctor." A later archival live release, Presents in Concert (1995), compiled 1973 performances with Ridley providing bass and vocals, highlighting the post-Frampton era. Key singles from Ridley's time with the band included "Natural Born Bugie" (1969), which reached No. 4 on the UK Singles Chart and featured his lead vocals alongside bass. "Black Coffee" (1973) served as a single from , with Ridley's bass underscoring the soulful cover. In the early , Ridley participated in a reunion with , releasing the studio album Back on Track (2002) on , where he again handled bass and vocals on new material like "Back on Track" and covers, marking a return to the band's blues-rock roots before his death.

Collaborations and other recordings

Throughout his career, Greg Ridley made notable contributions as a session bassist and collaborator outside his primary band affiliations. One significant appearance was on Steve Marriott's solo album Marriott (1976), where Ridley provided bass and backing vocals on five tracks, including "East Side Struttin'" and "Late Night Lady," supporting Marriott's transition to solo work following Humble Pie's initial lineup changes. This collaboration highlighted Ridley's versatile blues-rock style, blending seamlessly with Marriott's raw guitar and vocal energy. Ridley also participated in informal recording sessions that later surfaced in archival releases. In 1974–1975, he and Marriott recorded material at Clear Sounds Studio intended for Marriott's solo endeavors and a joint project, which was ultimately packaged and released posthumously as Humble Pie's Joint Effort in 2019. The album features Ridley on bass and vocals across all tracks, such as "Rain" and "Let Me Be Your Lovemaker," capturing their creative synergy during a period of band flux. Posthumously, Ridley's performances appeared on several compilation and archival collections that underscored his enduring influence. The 2005 anthology All I Ever Needed compiles solo and collaborative recordings spanning his career, including original compositions like "All I Ever Needed" and covers such as "Don't Let Me Be Misunderstood," with guest appearances by artists like Iron Maiden's Adrian Smith on "Live to Learn." Additionally, the expansive The A&M Records 1970–1975 box set (2022) includes bonus tracks and rarities from his Humble Pie era, such as outtakes and B-sides like "Drugstore Cowboy," preserving his foundational bass lines in the band's high-energy sound. These releases, drawn from studio archives, have introduced Ridley's work to new audiences, emphasizing his role in bridging 1970s British rock traditions.

References

  1. https://www.the-independent.com/news/obituaries/greg-ridley-37586.html
  2. https://www.udiscovermusic.com/stories/greg-ridley-spooky-tooth-humble-pie-bassist/
  3. https://www.findagrave.com/memorial/8155123/greg-ridley
  4. https://www.independent.co.uk/news/obituaries/greg-ridley-37586.html
  5. https://dereksmusicblog.com/2016/11/28/mike-harrison-from-the-v-i-p-s-to-the-solo-years-1963-1975/
  6. https://www.allmusic.com/artist/the-vips-mn0001578410
  7. https://am-records.com/2021/04/05/keith-emerson-the-hendrix-of-the-keyboards/
  8. https://www.discogs.com/release/3961691-The-VIPs-Early-Spooky-Tooth
  9. https://www.discogs.com/master/1528148-The-Vipps-Wintertime
  10. http://www.spookytooth.sk/bio.html
  11. https://www.loudersound.com/features/spooky-tooth-so-much-talent-so-little-to-show-for-it
  12. https://www.discogs.com/master/173347-Art-Supernatural-Fairy-Tales
  13. https://jazzrocksoul.com/artists/spooky-tooth/
  14. https://www.progarchives.com/album.asp?id=27641
  15. https://www.progarchives.com/artist.asp?id=5316
  16. https://www.loudersound.com/features/humble-pie-story
  17. https://www.allmusic.com/artist/greg-ridley-mn0000189775
  18. https://humblepieofficial.com/bio/
  19. https://www.discogs.com/master/361413-Spooky-Tooth-Cross-Purpose
  20. https://knowyourbassplayer.com/2015/03/10/gregridleyhumblepie/
  21. https://music.apple.com/gb/song/sucking-on-the-sweet-vine/1443853216
  22. https://jazzrocksoul.com/artists/humble-pie/
  23. https://genius.com/Humble-pie-black-coffee-lyrics
  24. https://www.makingtime.co.uk/vips.html
  25. https://www.indeepmusicarchive.net/2016/03/7316-spooky-tooth-weight-1968/
  26. https://getreadytorock.me.uk/blog/2024/04/feature-rock-rewired-steve-marriott-part-2-peter-frampton-interview/
  27. https://www.herefordtimes.com/news/5669597.bass-players-death-in-spain/
  28. http://www.allrightnow.com/fws/news2004c.htm
  29. https://www.gigwise.com/humble-pie-redefining-rock-fusion/
  30. https://www.discogs.com/release/1162845-Killdozer-Uncompromising-War-On-Art-Under-The-Dictatorship-Of-The-Proletariat
  31. https://www.discogs.com/artist/1278548-The-VIPs-2
  32. https://www.discogs.com/master/481730-The-VIPs-Dont-Keep-Shouting-At-Me
  33. https://www.discogs.com/master/851305-VIPs-I-Wanna-Be-Free
  34. https://www.discogs.com/master/1829473-The-VIPs-I-Wanna-Be-Free
  35. https://www.discogs.com/release/3132713-The-VIPs-Beat-Crazy-The-Best-Of-The-VIPs
  36. http://rockasteria.blogspot.com/2011/07/art-supernatural-fairy-tales-1967-uk.html
  37. https://www.allmusic.com/album/supernatural-fairytales-mw0000648816
  38. https://www.discogs.com/release/3015946-Art-Whats-That-Sound-For-What-Its-Worth-
  39. https://www.discogs.com/master/356484-Art-Whats-That-Sound-For-What-Its-Worth-
  40. https://www.discogs.com/release/1380897-Art-Supernatural-Fairy-Tales
  41. https://www.discogs.com/release/3055742-Art-Supernatural-Fairy-Tales
  42. https://rateyourmusic.com/release/album/art/supernatural-fairy-tales/
  43. https://music.apple.com/us/song/societys-child/1443299065
  44. https://www.discogs.com/master/179730-Spooky-Tooth-Its-All-About
  45. https://www.discogs.com/release/1526602-Spooky-Tooth-The-Weight
  46. https://www.discogs.com/master/24420-Spooky-Tooth-Spooky-Two
  47. https://www.discogs.com/release/4050892-Humble-Pie-Thunderbox
  48. https://www.allmusic.com/album/back-on-track-mw0000225982
  49. https://www.discogs.com/release/4592403-Steve-Marriott-Marriott
  50. https://www.discogs.com/master/1498956-Humble-Pie-Joint-Effort
  51. https://www.discogs.com/release/6164118-Greg-Ridley-Anthology-All-I-Ever-Needed
  52. https://www.discogs.com/release/25362619-Humble-Pie-The-AM-Records-Box-Set-1970-1975
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