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Key Information

John Voorhis "Tim" Bogert III[1] (August 27, 1944 – January 13, 2021) was an American musician. As a bass guitarist and vocalist he was best known for his powerful vocal ability and his fast runs, fluid agility and ground-breaking sound on his Fender Precision Bass. He was one of the pioneers of using distortion with his bass to help it cut through the mix with the low-powered amps of his time which also imparted a very sharp-edged sound to it. He was a frequent collaborator with drummer Carmine Appice; the duo performed in such bands as Vanilla Fudge,[2] Cactus, and the power trio Beck, Bogert & Appice.[3]

Early life

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John Voorhis Bogert III was the only child born to a family of bankers, John Voorhis Jr. (1898-1984) and Christine Caroline Bach (1909-2000).[4] He graduated in 1963 from Ridgefield Memorial High School[5] in his hometown of Ridgefield, New Jersey.[6]

Career

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1960s

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In 1965, Bogert, who was born John, chose to go by the nickname "Tim" in 1965 when his career performing on stage started.[7]

Vanilla Fudge was formed by Tim Bogert along with Mark Stein, Vince Martell, and Carmine Appice. They recorded five albums during the years 1967–69, before disbanding in 1970. Their only hit song was a cover of "You Keep Me Hangin' On" by The Supremes. The band has reunited in various configurations over the years, with Bogert returning to the band on multiple occasions until 2010.

1970s

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In 1970, Bogert formed the hard rock band Cactus[8] with drummer Carmine Appice, guitarist Jim McCarty and lead vocalist Rusty Day. He then played with guitarist Jeff Beck, after the second Jeff Beck Group had disbanded in 1972 and eventually became a member of the power trio Beck, Bogert & Appice, late in 1972. As a member of the post-second Jeff Beck Group, also known as Jeff Beck Group, he toured Europe, Japan and the U.S. from January 1972 until January 1974. In late 1975, he played bass guitar on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album.

Bogert then joined up with Bobby and the Midnites,[9] a musical side project assembled by guitarist and vocalist Bob Weir of The Grateful Dead. Despite touring with the group, Bogert left before their eponymous album was released and was replaced by Alphonso Johnson. He then joined UK group Boxer and played on their final album "Absolutely" in 1977 – he had co-writing credits on three tracks on this album. The album and subsequent tour met with an indifferent response and the band had folded by 1978.

1980s & 1990s

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During 1981 Bogert toured with guitarist Rick Derringer and released an album Progressions. He recorded his second album Master's Brew in 1983 and recorded Mystery with Vanilla Fudge in 1984. In 1981 Bogert became a faculty member at the Musicians Institute in Hollywood.[10] In 1993 he worked with Pata, recording the guitarist's self-titled album and joining Tommy Aldridge and James Christian on a November 1993 tour of Japan supporting the album.[11][12]

In early 1999, The Hollywood Rock Walk of Fame recognised Tim Bogert's contribution to rock history. That year, he teamed up with Appice and Char to tour Japan in a unit called CB&A, with a live album released the following year.[11] Later in 1999 Bogert worked with Triality, and Shelter Me. In 2000, Bogert and Carmine Appice formed the power trio DBA with Rick Derringer and toured with Vanilla Fudge.

2000s & 2010s

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During 2009, Bogert joined blues rock trio Blues Mobile Band and recorded Blues Without Borders (2009) in Los Angeles.[citation needed]

In 2010, Bogert, with Mike Onesko on guitar and vocals and Emery Ceo on drums (both from the Blindside Blues Band) recorded Big Electric Cream Jam, a 10-track live tribute to Cream Live at The Beachland Ballroom Euclid Ohio.[citation needed]

Tim Bogert was a part of the then Los Angeles–based The McGrath Project, featuring Gary McGrath (Grammy Award–winning producer) Chet McCracken (Doobie Brothers and America) Dean Minnerly (Three Dog Night and Aretha Franklin touring member) and Ann-Marita. They did three records, self-titled, “Love is a Four-Letter Word” and “Phoenix” released under 4818 Records.[13][14][15][16][17]

In early 2014, Bogert joined hard rock band Hollywood Monsters, where he played on the album Big Trouble (on three tracks) which was released in 2014 on Mausoleum Records. The album features Steph Honde on vocals and guitars, Vinny Appice (Carmine's brother) on drums, Don Airey on keyboards (on one track) and Paul Di'Anno on lead vocals on the bonus track.[18]

Personal life and death

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Bogert located to California in the 1980s where he remained until he died.[4]

In 2010, Bogert "reluctantly" retired from touring due to a motorcycle accident. He died on January 13, 2021, from cancer.[19] He is survived by his wife, Veda Vaughn Bogert, and their only child John Voorhis Bogert IV, whose known by the name "Freddy".[4][20] Tributes were made by Carmine Appice and Paul Stanley of Kiss.[21]

Legacy

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Bogert has been listed as an important influence on other renowned rock bassists. In 2025, Billy Sheehan called him "probably the biggest influence on me bass-wise"[22] and said "He just had a take on it that was unlike anyone else, and he just created this integral melodic move that was reminiscent of Motown, only way wilder."[23]

Discography

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Solo

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With Vanilla Fudge

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With Beck, Bogert & Appice

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With Cactus

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tim Bogert

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John Voorhis "Tim" Bogert III (August 27, 1944 – January 13, 2021) was an American musician best known as a pioneering rock bassist and vocalist, co-founding the band in 1967 and later forming the groups and . Born in , Bogert grew up playing multiple instruments, including , , and , before switching to during high school to join bands after his family moved to . Bogert's early career took shape in the mid-1960s when he joined the group Rick Martin and the Showmen, followed by forming The Pigeons with organist Mark Stein, which evolved into Vanilla Fudge upon adding guitarist Vince Martell and drummer Carmine Appice. With Vanilla Fudge, Bogert contributed to five Top 40 Billboard 200 albums between 1967 and 1969, including their psychedelic reinterpretations of hits like "You Keep Me Hangin' On" and "Ticket to Ride," which helped define the band's heavy, innovative sound blending rock, soul, and psychedelia. The band's influence extended to proto-metal and hard rock, with their cover of "You Keep Me Hangin' On" later featured in the 2019 film Once Upon a Time in Hollywood. After disbanded in 1970, Bogert co-founded with Appice, releasing four albums from 1970 to 1973 that showcased his virtuoso bass playing and the group's raw, blues-infused style. He then joined forces with guitarist and Appice in the supergroup , producing two albums in 1973 noted for their fusion of jazz-rock and heavy riffs. Throughout the 1970s and 1980s, Bogert collaborated with artists such as in , , and the band Boxer, while also releasing solo efforts like Progressions (1981) and Master's Brew (1983), as well as the reunion album Mystery (1984). In his later years, Bogert taught bass at the Musicians Institute in Los Angeles for 18 years starting in 1981, influencing a new generation of players, and participated in reunions of Vanilla Fudge and Cactus, including the 2006 album Cactus V and 2007's Out Through the In Door. He retired from touring in 2010 following a motorcycle accident but continued session work locally until his death from cancer on January 13, 2021, at age 76 in Simi Valley, California. Bogert was honored with a star on the Hollywood RockWalk of Fame in 1999 for his contributions to rock music, leaving a legacy as one of the genre's most innovative and influential bassists.

Early Life

Family Background and Childhood

John Voorhis Bogert III, professionally known as Tim Bogert, was born on August 27, 1944, in , as the only child of John Voorhis Bogert Jr. (1898–1984) and Christine Caroline Bach (1909–2000). His parents came from a family with a background in banking, which shaped a stable middle-class upbringing in the post-World War II era. During his early childhood, the Bogert family relocated from to , where Tim spent much of his formative years in a suburban environment that offered a contrast to the urban intensity of his birthplace. This move immersed him in the local community of , where early influences included the burgeoning mid-20th-century American music landscape, though specific family musical traditions are not documented. As an , Bogert formed close bonds with members, including cousins, which provided enduring personal connections amid his developing interests. Bogert's initial fascination with music emerged in his pre-teen and teenage years, beginning with lessons around age 8, followed by woodwind instruments such as the and during middle and high school in Ridgefield. At Ridgefield Memorial High School, where he graduated in 1963, he explored these instruments within local school and community settings, reflecting an early curiosity about performance before shifting focus to string instruments.

Education and Musical Beginnings

Bogert attended Ridgefield Memorial High School in , graduating in 1963. During his high school years, he immersed himself in music, initially taking up the and joining the local high school band known as the Belltones. The group focused on performing standards at school events and community gatherings, marking Bogert's entry into ensemble playing and live performances. As the Belltones transitioned into a more formalized act called the Chessmen in the early , Bogert continued contributing on , but the shifting landscape of began to influence his choices. With the rise of and the diminishing the demand for horn sections in rock bands, he shifted instruments during his late teens, first experimenting with guitar before adopting the . This change was driven by the energetic styles of , which emphasized rhythmic drive and instrumental prowess. Bogert's early semi-professional experience came through gigs with New Jersey-based cover bands, where he replicated hits from emerging rock acts, further refining his musicianship. Prior to more structured professional endeavors, he participated in brief stints with various informal ensembles in the early , building versatility across instruments and performance settings while supported by his family's encouragement of musical pursuits.

Career

1960s: Vanilla Fudge and Rise to Fame

In 1967, Tim Bogert co-founded in New York, evolving from the local The Pigeons, which he had joined earlier in the decade alongside drummer . The original lineup included Bogert on bass and vocals, Appice on drums and vocals, Mark Stein on keyboards and lead vocals, and Vince Martell on guitar. Initially focused on R&B and pop covers, the group quickly shifted toward , reinterpreting hits with slowed tempos, heavy orchestration, and extended improvisations that stretched songs into soulful, atmospheric jams. This innovative approach distinguished them in the late-1960s scene, blending pop accessibility with emerging heavy rock elements. Vanilla Fudge's breakthrough arrived with their cover of The Supremes' "You Keep Me Hangin' On," released as a single in 1967, which transformed the Motown track into a seven-minute psychedelic epic and peaked at No. 6 on the Billboard Hot 100. Their self-titled debut album, issued later that year on Atco Records, captured this style and climbed to No. 6 on the Billboard 200, remaining on the chart for nine months. Bogert played a pivotal role as the band's bassist and backing vocalist, introducing distorted bass tones that added a gritty, thunderous low-end to their sound, influencing the heavier aesthetics of psychedelic and proto-metal genres. Follow-up releases like The Beat Goes On (1968) and Renaissance (1968) further showcased their signature arrangements, such as the 23-minute improvisational suite "Break Song" on the latter, solidifying their reputation for reinventing contemporary hits. A 1969 compilation, The Best of Vanilla Fudge, also charted at No. 34 on the Billboard 200, encapsulating their early hits. The band's rise included high-profile tours that elevated their fame, notably opening for Jimi Hendrix on multiple U.S. dates in 1968, including shows at venues like the Memorial Coliseum in Phoenix and Red Rocks Amphitheatre in Denver, where their intense performances often rivaled the headliners. These gigs, alongside support slots for Cream and early appearances with Led Zeppelin, exposed Vanilla Fudge to larger audiences and highlighted their live prowess in delivering psychedelic energy. However, internal factionalism and creative differences led to the group's dissolution in early 1970 after a farewell concert, marking the end of their initial run.

1970s: Cactus and Beck, Bogert & Appice

Following the dissolution of , Tim Bogert and drummer , his longtime collaborator from that band, formed the hard rock group in 1970. They recruited guitarist , formerly of and , and vocalist from the Amboy Dukes to complete the lineup. The band quickly established a reputation for its raw, blues-infused sound, characterized by aggressive riffs, boogie-driven rhythms, and Bogert's prominent, distortion-heavy bass lines that often propelled the music forward. Cactus released their self-titled debut album in 1970 on , followed by in 1971, both capturing the group's high-energy, no-frills approach to blues-rock. A third studio album, , arrived in 1972, along with a live recording that highlighted their live prowess. The band toured extensively during this period, performing alongside acts like and building a through intense, sweat-soaked shows that emphasized and . However, internal challenges, including Rusty Day's erratic behavior and substance issues, contributed to lineup changes, with Day eventually leaving. Cactus disbanded in early 1972 amid frustrations over lack of label promotion and support, prompting Bogert and Appice to pursue new opportunities. In 1972, Bogert and Appice joined forces with guitarist to form the power trio Beck, Bogert & Appice (BBA), fulfilling a collaboration that had been discussed since the late 1960s. The group debuted with their self-titled studio album in 1973, which blended , , and elements, showcasing Beck's virtuosic guitar work alongside Bogert's thunderous, aggressive bass lines that provided a muscular foundation for the trio's dynamic interplay. A live album, Recorded Live in Japan, followed later that year, capturing their explosive performances during a Japanese tour. BBA's sound emphasized the power trio format, with Bogert's forceful, riff-heavy bass contributing to the band's heavy, groove-oriented attack, often drawing comparisons to but with a harder edge. Despite their musical chemistry, BBA disbanded in 1974 due to creative differences and personal tensions, particularly between and , halting work on a planned second studio album. Unreleased live recordings from their 1973–1974 tours surfaced in a 2023 , Live in 1973 / Live in 1974, offering fresh insight into the group's live intensity. Later in the decade, Bogert contributed bass to Bo Diddley's all-star album The 20th Anniversary of Rock 'n' Roll (1976), playing on tracks that featured guests like and . He also joined the band Boxer in 1977, appearing on their third album Absolutely (1979) and adding his distinctive bass style to their fusion of , rock, and funk.

1980s–1990s: Solo Efforts and Collaborations

In the early 1980s, Tim Bogert pursued solo endeavors, releasing his second solo album, Master's Brew, in 1983 on Takoma Records. The album featured contributions from notable musicians including on guitar for the opening track "Don't Leave Me This Way," on drums for that same song, on keyboards, and on piano, blending blues-rock elements with AOR sensibilities. In the early 1980s, Bogert served as the original bassist for , the side project of guitarist , touring with the group in 1980 and 1981. Around this time, Bogert toured extensively with Derringer, performing as part of a lineup that occasionally included Appice, with notable shows such as a 1982 performance at The Ritz in featuring guest appearances by and . Bogert relocated to in the 1980s, adapting to a shifting music landscape where the sound of his earlier bands waned in popularity amid the rise of new wave and pop. He transitioned toward session work and education, joining the faculty of the in Hollywood in 1981 as an instructor for bass and voice, a role he held for 18 years, mentoring aspiring professionals in rock techniques. This period saw him contribute bass to film soundtracks, including Clint Eastwood's 1988 jazz biopic Bird about , where he supported the score's ensemble arrangements. Throughout the decade, Bogert maintained collaborations rooted in his past partnerships, forming the trio Char, Bogert & Appice (CB&A) with Japanese guitarist Char and Appice in the late 1990s, culminating in a 1999 tour of Japan and a live album Live in Japan. He also participated in occasional reunions and tours with Vanilla Fudge during the 1980s and early 1990s, performing their psychedelic covers at festivals and venues. Similarly, he rejoined Cactus for sporadic live appearances in the same era, preserving the band's heavy blues-rock energy. In 1993, Bogert collaborated with X Japan guitarist Pata on Pata's self-titled solo album, providing bass alongside drummer Tommy Aldridge and vocalist James Christian, followed by a supporting tour in Japan that November.)

2000s–2010s: Later Projects and Teaching

In the 2000s, Bogert continued his musical involvement through several collaborative projects that showcased his enduring affinity for blues and rock. He joined the Los Angeles-based McGrath Project in 2005, contributing bass to their pop-rock recordings, including the album Full Moon, which featured Grammy-winning producer Gary McGrath and drummer Chet McCracken of the Doobie Brothers. Later that decade, Bogert participated in the Onesko Bogert CEO Project, releasing the Cream tribute album Big Electric Cream Jam in 2009, where he delivered powerful bass lines on tracks like "Crossroads" and "Spoonful" alongside guitarist Mike Onesko and drummer Emery CEO. He also collaborated with the Blues Mobile Band on their 2009 album Blues Without Borders, blending blues-rock elements with international influences from Georgian musicians Vova Mogeladze and Shalva Mukhuradze. Bogert's longstanding partnership with drummer fueled notable reunions during this period. The duo revived in the mid-2000s, culminating in the 2006 album V, which reunited original members Appice, Bogert, and guitarist with vocalist Jimmy Kunes, producing hard-rock tracks like "Cactus Music" that echoed the band's early intensity. Simultaneously, Bogert rejoined for tours from 2005 onward, including extensive domestic and international schedules that featured performances in the United States, , and , supporting releases like the 2007 covers album Out Through the In Door. Entering the 2010s, Bogert made select appearances, such as guesting on three tracks for Hollywood Monsters' 2014 hard-rock album Big Trouble, including the title track, alongside and vocalist Stéphane Honde. He had taught bass and vocals at the in Hollywood for 18 years from 1981 to 1999, through the Bass Institute of Technology and emphasizing practical skills like remote session recording. In 2010, Bogert retired from live touring following complications from a accident, marking a transition toward studio work and mentorship. His final recordings included guest bass contributions on various projects up to 2019, such as online sessions for independent artists, reflecting a focus on guiding the next generation rather than stage performances.

Personal Life

Family and Residences

Bogert was born John Voorhis Bogert III on August 27, 1944, in and raised in northern , where he attended Ridgefield Park High School. As an in a family of bankers, he developed strong ties to his extended relatives, particularly cousins such as Joanne, maintaining weekly conversations and lifelong bonds despite his extensive travels. Prior to his long-term , Bogert had earlier personal relationships, though specifics remain private. In the early , Bogert relocated from to the area and married Veda Vaughn Bogert, with whom he shared his life in for decades. The couple settled in the region, later residing in Simi Valley following his retirement from performing in 2009. Bogert and Veda were parents to one son, John Voorhis Bogert IV, known as "Freddy." He was a dedicated , fostering a close family dynamic centered on support and shared experiences in their home.

Health Issues and Death

Prior to his 2010 accident, Bogert maintained robust supported by his active lifestyle as a touring musician, performing regularly with bands like reunions and other projects into his mid-60s. In 2010, Bogert suffered a motorcycle accident that caused significant complications, necessitating long-term recovery and leading to his reluctant retirement from live touring. Bogert was diagnosed with cancer around 2019 and endured a two-year battle with the disease. He died on January 13, 2021, at the age of 76. His family confirmed his passing, noting he was survived by his wife, Veda, and their son, Freddy.

Legacy

Influence on Bassists and Rock Music

Tim Bogert's innovative approach to profoundly shaped the sound of , particularly through his early adoption of and fuzz effects, which allowed the bass to cut through dense mixes and drive the aggression of emerging and . In the late 1960s with , Bogert mastered on his , creating a gritty, overdriven tone that contrasted with the cleaner lines of contemporaries. 's sound influenced bands like . His use of fuzz pedals further amplified this pioneering style, enabling rapid runs and solos that elevated the bass from rhythmic foundation to lead instrument, setting a template for virtuosic playing. Bogert's vocal contributions added another layer to his influence, blending rock with ful, -infused delivery characterized by a wide that evoked emotional depth and theatricality. As a backing and occasional in , he drew from traditions to infuse psychedelic arrangements with raw passion, as heard in tracks like "," where his complemented the band's heavy grooves and helped bridge and . This hybrid style encouraged subsequent bassists to explore singing, expanding the instrument's role beyond mere accompaniment. Through his 18-year tenure as an instructor at the in Hollywood, starting in , Bogert mentored aspiring bassists and vocalists, emphasizing practical skills like locking with drummers and integrating to enhance employability in rock ensembles. He taught generations of students, including future professionals, to prioritize groove and expression over flash, fostering a legacy of technical proficiency and musicality in . Bogert's impact is evident in the work of notable bassists who have cited him as a direct influence; for instance, of Mr. Big has repeatedly named Bogert as his primary inspiration, crediting Vanilla Fudge's self-titled album for transforming his approach and praising Bogert's trailblazing kindness and innovation in . Sheehan's high-energy, melodic style echoes Bogert's fusion of speed and solidity, underscoring the latter's role in inspiring virtuosic players across and fusion. Bogert played a pivotal role in the evolution from to , using his distorted bass lines in to reinterpret pop covers with psychedelic heft, then pushing boundaries further in with raw, blues-infused riffs that stripped away ornamentation for direct intensity. This progression helped define the shift toward heavier, riff-driven rock in the early 1970s, influencing the genre's move from experimentation to aggression.

Tributes and Posthumous Recognition

In 1999, Tim Bogert was inducted into the Hollywood RockWalk of Fame in recognition of his contributions to rock music history. Following Bogert's death on January 13, 2021, numerous musicians paid tribute to his influence and legacy. Bassist Billy Sheehan, who has long cited Bogert as a primary inspiration, described him in 2021 as "my hero, biggest influence on my playing" in a public statement mourning his passing. In 2025, Sheehan reiterated Bogert's profound impact, calling him "probably the biggest influence on me bass-wise" during an interview reflecting on early career inspirations. Media outlets and fan communities marked the fourth anniversary of his death in January 2025 with commemorative posts, including Instagram tributes highlighting his work with Vanilla Fudge and Beck, Bogert & Appice, while his August birthday prompted similar remembrances in publications like Classic Rock magazine. Posthumous releases continued to honor Bogert's collaborations, notably the four-disc box set Beck, Bogert & Appice: Live in Japan 1973 / Live in London 1974, issued by in September 2023, which collected rare and unreleased concert recordings from the supergroup and was dedicated to both Bogert and . Memorial events included a virtual tribute hosted by drummers and Vinnie Appice in January 2021, featuring guest musicians such as Sheehan, Tony Franklin, and to celebrate Bogert's career. organized a private memorial event in in September 2021, where the band released a new single dedicated to Bogert. The Jersey Shore Jazz & Blues Foundation published a personal tribute from president Tom Baldino, emphasizing Bogert's local performances and family ties, and noted their multiple visits with him in the years leading up to his death. Bogert received further posthumous recognition through the 2023 RockGodz Hall of Fame induction of , where he was honored in absentia alongside surviving members , Mark Stein, Vince Martell, and for their pioneering role in . Fan communities on platforms like and sustained ongoing tributes through 2025, sharing archival footage and personal stories of his bass innovations.

Discography

Solo Work

Tim Bogert released his debut solo album, Progressions, in on Townhouse Records, showcasing his versatile bass playing and lead vocals across a mix of rock and AOR tracks, including the upbeat opener "Hold On to the Night" and keyboard-driven "Progressions." The album featured contributions from musicians such as guitarist Jay Williams and keyboardist Peter Schless, with production handled by Williams, highlighting Bogert's shift toward more personal, groove-oriented compositions outside his band commitments. His second solo effort, Master's Brew, followed in 1983 on Takoma Records, a blues-rock infused record produced by Richie Wise and engineered by Doug Rider at The Village Recorder in Los Angeles. Standout tracks include the energetic "Let Him Know," featuring guest lead guitar by Rick Derringer and drums by Carmine Appice, and the soulful "Slow Dancin'," bolstered by organ work from Brian Auger. Other highlights encompass "Trouble," with additional Auger organ, and piano contributions from Nicky Hopkins on select cuts, emphasizing Bogert's production involvement and instrumental focus on eight-string bass lines. In the 1990s, Bogert contributed to side projects, notably playing bass on the Cream tribute album (L.A. Blues Authority Volume V) in 1994, where he performed on the high-energy cover of "Crossroads" alongside guitarist . This appearance underscored his enduring appeal as a session for thematic compilations, though no further solo albums or major independent releases emerged during this period.

With Vanilla Fudge

Tim Bogert provided and backing vocals for 's original lineup across their four studio albums released between 1967 and 1969, contributing to the band's signature sound through heavy, extended arrangements of contemporary hits and originals. The band's debut album, , was released in August 1967 on and featured slowed-down, orchestral covers with Bogert's driving bass lines underpinning the psychedelic arrangements; he performed bass on all tracks and contributed backing vocals throughout, including harmonies on "." The tracklist included: "Ticket to Ride" (), "" (), "" (), "Bang Bang (My Baby Shot Me Down)" (), "Illusions of My Childhood, Part One," "" (), "Take Me Back O'Er the Line" (original), and "Illusions of My Childhood, Part Two." Follow-up releases continued Bogert's foundational role in the rhythm section. The Beat Goes On (February 1968, ) was a spanning musical history, with Bogert on bass and backing vocals for tracks like "" () and originals such as "The Beat Goes On." (August 1968, ) incorporated more originals and covers, including "" ( & the All Stars), where Bogert's vocal and bass work stood out prominently. Near the Beginning (July 1969, ) and Rock & Roll (September 1969, ) shifted toward harder rock edges, with Bogert delivering bass and harmonies on songs like "" (revisited) and "Street Walking Woman."
AlbumYearLabelBogert's Credits
1967Bass, backing vocals (all tracks)
The Beat Goes On1968Bass, backing vocals (all tracks)
1968Bass, backing vocals (all tracks)
Near the Beginning1969Bass, backing vocals (all tracks)
Rock & Roll1969Bass, backing vocals (all tracks)
Key singles from this era highlighted the band's commercial success, with Bogert's bass anchoring the psychedelic extensions. "You Keep Me Hangin' On" reached No. 6 on the Billboard Hot 100 in early 1968, becoming their biggest hit. "Take Me Back O'Er the Line" charted at No. 49 in 1968, while other releases like "Some Velvet Morning" (No. 69, 1969) and "Shotgun" (No. 69, 1969) further showcased their style. Vanilla Fudge reunited multiple times in later decades, with Bogert participating in several projects. The 1984 album Mystery (Atco Records) featured the original lineup, including Bogert on bass and vocals for all tracks, alongside guest appearances by Jeff Beck (credited as "J. Toad") on "Jealousy" and "I Can't Win"; it included originals and covers like "Walk On By" (Dionne Warwick). Reunions in 1999–2002 led to The Return (2002, Victor Entertainment), where Bogert handled bass and vocals on 12 of 13 tracks, reinterpreting classics such as "You Keep Me Hangin' On" and "Season of the Witch" with a heavier sound. Live recordings from these periods, such as The Real Deal – Vanilla Fudge Live (2003, released from 1987 tour footage), also captured Bogert's performances.

With Cactus

Tim Bogert served as the for the band from its formation in 1969 until 1972, and again during select reunions in the 2000s. The band's debut studio album, , was released in 1970 by , featuring a raw blues-rock sound driven by Bogert's forceful bass contributions on tracks such as the cover of "Parchman Farm." This album established Cactus's reputation for high-energy performances, with Bogert's interplay with drummer forming the core . The group followed with two more studio albums in 1971: and Restrictions, both issued on . One Way...Or Another, recorded at , highlighted Bogert's prominent bass lines, particularly in the title track, where his anchors the song's aggressive groove. Restrictions continued the band's heavy style, with Bogert's bass providing a solid foundation amid lineup shifts, including the departure of vocalist and guitarist shortly after its release. The band underwent further personnel changes in the early 1970s as Day and McCarty exited. In 1972, Cactus released the live album 'Ot 'N' Sweaty on , capturing the band's energetic stage presence with recordings from various shows, including Bogert's dynamic bass work on extended jams like "Big Mama ." This compilation served as a farewell to the original configuration before the group's initial disbandment. Bogert reunited with Appice and McCarty in the 2000s, leading to the studio album Cactus V in 2006 on Escapi Music, which revived the band's classic sound with new material such as "The Groover" and "Muscle and Soul," showcasing Bogert's enduring bass prowess. The reunion also included live performances, including a 2006 show at B.B. King's Club in New York, where tracks like "" were reprised, emphasizing Bogert's rhythmic drive.

With Beck, Bogert & Appice

, the power trio formed in late 1972 following the breakup of , released their only studio album, , on in March 1973. The record blended , , and influences, highlighted by the hit single "," a cover of Stevie Wonder's tune that reached No. 15 on the Billboard Hot 100. Other notable tracks included "," an original composition emphasizing the group's rhythmic interplay, and "Black Cat Moan," which opened the album with gritty guitar riffs from . The album peaked at No. 12 on the , demonstrating the trio's commercial appeal during their brief tenure. In December 1973, the group issued a live album exclusively in , Beck, Bogert & Appice Live, recorded during their tour at Koseinenkin Hall in on May 18 and 19, 1973. This captured the band's raw energy in extended improvisations, featuring extended versions of "," "Jeff's Boogie," and "Jizz Whizz," a track previewing material for their uncompleted second studio album. Widely bootlegged outside as Live at Sunplaza Way or similar titles, it later received official expanded reissues, underscoring the trio's reputation for dynamic stage performances. Following the deaths of in 2023 and Bogert in 2021, Rhino Records posthumously released the four-disc box set Live 1973 & 1974 in September 2023, compiling full, previously unreleased multitrack recordings from the shows and a at London's . The collection includes early performances of unfinished 1970s studio tracks like "Satisfied" and "Drums and Balls," providing insight into the group's evolving jazz-rock fusion direction before their dissolution in May 1974. The trio undertook occasional one-off reunions in the 2000s, including performances at events like the 2006 Fender 50th Anniversary celebration, but these did not result in new recordings or a full comeback. No official variations with guest artists were released during their active period, though later projects featured BBA material performed by others.

Other Collaborations

In 1976, Bogert contributed to all tracks on Bo Diddley's album The 20th Anniversary of Rock 'n' Roll, a collaborative project featuring guest appearances from musicians including and , blending Diddley's signature rhythm with rock elements. A year later, in 1977, Bogert provided prominent bass lines for the British band Boxer's final album, Absolutely, marking a shift toward more structured arrangements under singer Mike Patto's direction, with Bogert's playing adding a dynamic edge to tracks like "" and "Rich Man's Daughter." During the , Bogert participated in session work for Japanese guitarist Pata's self-titled debut solo album Pata (1993), where he handled bass duties alongside drummer , contributing to the record's sound influenced by Pata's roots. In 1999, Bogert joined forces with Appice and Japanese guitarist Char for a short-lived touring unit known as CB&A, performing in Japan and releasing a live album, CB&A, the following year that captured their high-energy fusion of rock and fusion elements. In the early 1980s, Bogert played bass for Grateful Dead guitarist Bob Weir's band Bobby and the Midnites from 1982 to 1984, contributing to live performances and recordings including the archival album Where the Beat Goes On (2022, Rhino Records), which features 1984 shows with Bogert on bass. Entering the 2000s, Bogert became a key member of the Los Angeles-based trio Blues Mobile Band, playing bass on their Music Without Borders (2010), which featured international influences and collaborations with Appice on , emphasizing Bogert's enduring affinity for blues-driven grooves. Around the same period, Bogert served as the bassist for The McGrath Project, a rock outfit formed in 2005 by producer Gary McGrath, contributing to like (2009) and performing live with members including drummer Chet McCracken, delivering pop-infused rock tracks such as "Hollywood Vampire" and "Can You Save Me." In 2001, Bogert teamed up with and Appice for the supergroup , Bogert & Appice (DBA), releasing Doin' Business As..., a effort featuring tracks like "Blood from a Stone" and "Everybody's Comin'," showcasing Bogert's rhythmic interplay with Derringer's guitar work. Later in his career, during the , Bogert guested on three tracks of band Hollywood Monsters' debut Big Trouble (2014), providing bass for songs including "Move On," alongside on drums and on keyboards, adding his veteran punch to the group's rock sound. Bogert's session contributions extended to various film soundtracks through licensed tracks from his earlier projects, such as , Bogert & Appice's "Lady" in Fear and Loathing in Las Vegas (1998), though he did not record original material directly for cinematic scores.

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