The iconic quartet known as the Lovin’ Spoonful germinated in New York City’s Greenwich Village in the mid ’60s and crafted hit songs that embraced folk, blues, country, and jug-band music. “Summer in the City” was primeval hard rock, and its descending tetrachord riff influenced Cream’s “Tales of Brave Ulysses.”
Spoonful’s classic lineup was John Sebastian (guitar), Zal Yanovsky (guitar), Joe Butler ((drums) and Steve Boone (bass), whose autobiography, Hotter Than a Match Head: Life On The Run With The Lovin’ Spoonful, was released in 2014.
A converted guitarist, in the early ’60s he and his brother, Skip, played in a band called the Kingsmen; Steve on a Les Paul goldtop until he acquired a Fender Precision Bass.
“I’d been using a loaner Silvertone and the owner wanted it back,” he recalled. “Manny’s Music [had] a white Precision Bass and they offered me a $50 trade (the goldtop for) the bass, which I went for, and I loved its sound.”
When Boone joined Lovin’ Spoonful, Yanovsky was playing a Guild S-200 Thunderbird.
“Like Zally himself, it was a wild-looking guitar, and in his hands it produced some of the sweetest sounds made,” he said. “I came to expect great things from that guitar and its player.”
The band signed as Guild endorsers in ’65, and while Boone received a new Starfire II with custom electronics, he remained loyal to his P-Bass. He was also compelled to switch from using a pick to his thumb, and later played with his fingers.
“The pick made the bass sound too clicky.” He explained. “At first, I used my thumb because I had a hard time getting my fingers to play the notes I wanted. Also, the thumb made for better sustain. It wasn’t until the instruments caught up with the new rock sound that I switched to fingers, and I’m glad I did.”
One of Boone’s mentors was Motown legend James Jamerson, from whom he took lessons.
“I was a huge fan of the playing on those Motown records,” Boone recounted. “But I didn’t know much about the player until we did a tour with the Supremes. I’d sit in the back of the bus with James and he would show me techniques and styles, and it really improved my playing.”
Boone acquired a Fender Jazz Bass in a backstage deal in Tennessee, and used that instrument extensively.
As documented in Hotter Than a Match Head, after the Lovin’ Spoonful, he went on to other careers including smuggling marijuana from Colombia. He also battled personal demons.
When he returned to music, it was on his own terms and he bought a Kubicki bass at the suggestion of Sebastian. The revitalized Lovin’ Spoonful includes Boone and drummer Joe Butler, and some might be surprised by the bassist’s primary instrument.
“Our guitar player, Phil Smith, had a music store,” he said. “I was there one day and saw this four-string Ibanez BTB. I took it down and liked the way it played, and bought it for $300. Once I was able to play it through a capable amp, I was amazed at how good it sounded, no matter which amp I tried. My personal style is a lot of low-end but as little sustain as possible, and the BTB gives me that. I’ve had it in regular use for nearly 20 years with no downtime for repairs. It’s the best-sounding bass I’ve ever owned.”
Boone turned 80 in September, and still listens to popular music.
“There are some fantastic recordings being made,” he said. “But one thing I notice lacking from much of the new music is melody. For me, melody is the memory messenger. When you first hear a new recording, you will likely remember the melody before you recall the lyrics. Much of John’s songs were heavy on melody, and he inspired me to be sure I have melody firmly in place on new songs.”
This article originally appeared in VG’s December 2023 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
