James Williamson (musician)
James Robert Williamson (born October 29, 1949) is an American guitarist, songwriter, record producer and electronics engineer. He was a member of the iconic proto-punk rock band The Stooges, notably on the influential album Raw Power and in the reformed Stooges from 2009 to 2016. Between his stints in music, Williamson worked in Silicon Valley developing computer chips. Most recently he has continued as a solo artist.
For other people named James Williamson, see James Williamson (disambiguation).
James Williamson
James Robert Williamson
October 29, 1949
Castroville, Texas, US
- 1966–1980
- 2009–present
- Columbia
- Bomp
- Radar
- Fat Possum
- Leopard Lady
The Stooges[edit]
By late 1970, Williamson was invited to join The Stooges as a second guitarist. He performed his first gig with the band on December 5, 1970. The band were by then struggling with drug problems and a lack of commercial success; despite the injection of Williamson's musicianship, The Stooges couldn't overcome their difficulties. According to Williamson, "I got hepatitis and moved back to Detroit and basically the band completely dissolved."[4] Many of the demo recordings made during this period were belatedly issued as vinyl singles or EPs, including the proto-punk tracks "I Got A Right" and "Gimme Some Skin".
In 1972, David Bowie offered Pop a chance to record in London; Pop promptly enlisted Williamson as a collaborator for the project.[5] Having failed to find other suitable musicians during an intensive search, they eventually invited the Asheton brothers to join them and reformed The Stooges,[6] with the elder Asheton reluctantly moving from guitar to bass. Ron Asheton would harbor a longstanding animus toward Williamson for several decades. In a 1997 interview with Perfect Sound Forever, he reflected upon his relationship with Williamson at length, alleging that "James was into bad stuff. He wasn't into junk at that time but he fell right in line with THE EVIL PROGRAM. He was supposed to be a helper for me but he totally usurped my position and eventually, kicked me out from playing guitar."[3]
Despite these tensions, Williamson co-wrote all the songs with Pop and played all the guitar parts on the ensuing album, Raw Power (1973).[7] He played louder and raunchier than almost anybody at the time, with a jagged high-energy approach. According to Williamson, "I was a very emotional guitar player, so I always played that way. That's how we felt, so that was what it sounded like."[8] Asheton was less sanguine, noting that "James always loved Keith Richards and he even emulated him in his personal style and appearance. [Pop] finally got his Jagger-Richards. So he and Iggy were the songwriters. They wouldn't let me do nothing even though I would come up with pieces. Jim would actually almost go for something. Little suggestions I made for the tunes, little twists. Not that I did any major structural changes. But I did do pieces to enhance and I was never recognized for it or even a fuckin' 'thank you.'"[3]
Nevertheless, Williamson's aggressive guitar playing on Raw Power has often been cited as a major influence on the emerging punk scene in the mid-seventies.[9] Johnny Marr (The Smiths, Modest Mouse) has also lauded Williamson's abilities: "I'm his biggest fan. He has the technical ability of Jimmy Page without being as studious, and the swagger of Keith Richards without being sloppy. He's both demonic and intellectual, almost how you would imagine Darth Vader to sound if he was in a band."[10]
Under new management from Jeff Wald (the husband and manager of pop singer Helen Reddy), The Stooges began a highly chaotic tour in February 1973 with little support from Columbia Records, which would soon drop the group after Raw Power only managed to peak at #182 in Billboard. During this period, minimalist composer and former Prime Movers keyboardist Bob Sheff joined as the group's pianist; he was soon replaced by multi-instrumentalist Scott Thurston, who formed an enduring friendship with Williamson. According to Kevin L. Jones, "[T]he kind of touring they did was not what you would imagine today, with big buses, fancy stage lighting and expensive equipment. Iggy and the Stooges toured like an invasive species, showing up at whatever venue would have them, scrambling for gear to play through and sucking up the drugs around them like walking Hoovers. Those days are remembered with stories full of blood from random projectiles being thrown at them and even a moment when Elton John jumped onstage wearing a gorilla costume, scaring the living daylights out of Pop."[11] Williamson was briefly dismissed due to criticism from the band's management (likely related to his turbulent romantic relationship with Cyrinda Foxe, a friend of road manager Leee Black Childers); guitarist Tornado Turner replaced him for a single gig (on June 15, 1973 at the Aragon Ballroom)[12] before he was permitted to return.[11]
In February 1974, The Stooges disbanded as a result of their dwindling professional opportunities.[13]
After the Stooges[edit]
Williamson collaborated with Pop in 1975 on tumultuous demo sessions for a proposed new album to possibly be produced by John Cale, which were released (despite Pop's objections) in 1977 as Kill City. During this period, Pop was briefly institutionalized of his own volition and Williamson was arrested for possessing heroin by the LAPD.[11] After sustaining a finger injury during a drunken altercation at an Alice Cooper listening party, he gave up playing music professionally to work as a record producer and pursue a higher education as an electronics engineer, initially enrolling in classes at Los Angeles City College: "The Stooges was maybe my only real band and kind of a family and so when that fell apart it was difficult to go on."[4][11][14] Looking back in 2010, Williamson said, "I gave up being a Stooge to study calculus."[10] He noted, "It was a rather large existential gap, but I did it."
Throughout the late 1970s, he worked on disco sessions as a staff engineer at Paramount Recorders in Los Angeles. In 1979, he was again persuaded to work with Iggy Pop as a producer and songwriter on New Values, his fourth solo album; in a partial reunion of The Stooges, Scott Thurston played guitar on all the tracks except "Don't Look Down."
Although Williamson continued to work with Pop on the initial sessions for Soldier (1980) in Wales, he brandished an air pistol and began to drink vodka heavily after failing to acclimate to the singer's new band, which included former Sex Pistols bassist Glen Matlock, Patti Smith Band multi-instrumentalist Ivan Kral and Barry Andrews of XTC. Following a squabble with Pop and David Bowie (who Williamson accused of exploiting The Stooges during the Raw Power era) over recording methods, he left the project. Subsequently, Williamson and Pop would lose touch for 30 years. Williamson reflected on the experience in 2015: "Fuck Bowie. His showing up was just the last of many frustrations with being there ... In hindsight, I should have never taken that job. It was recorded in a studio I didn't want to be in, with music that was half-baked and with musicians I didn't respect. It was my own damned fault it didn't work out."[11][15]
After working on Soldier, Williamson left the music business entirely to concentrate on his studies. In 1982, he received an electrical engineering degree from California State Polytechnic University, Pomona.[16]
Technology career[edit]
Immediately following his graduation from Cal Poly Pomona, Williamson moved to Silicon Valley. For the next fifteen years, he worked for Advanced Micro Devices in San Jose, California, designing products around its chips. His coworkers never inquired about his earlier career as a rock musician; in a 2010 interview with Uncut, Williamson asserted that many of his colleagues were "nerds and geeks ... they don't listen to The Stooges much."[17] In 1997, he was hired as Sony's vice president of technical standards; in this capacity, he liaised with competitors and helped to codify nascent industry standards, most notably the Blu-ray Disc. During the Great Recession, he accepted an early retirement buyout offer from Sony in 2009.[18]
In 2015, Williamson was selected to receive ANSI's Ronald H. Brown Standards Leadership Award for his contributions to consumer electronics standards development. The award, named after late United States Secretary of Commerce Ron Brown, is presented as part of World Standards Day celebration.[19]
Equipment[edit]
Williamson is known primarily for his use of Gibson Les Paul Custom guitars, but he also plays other guitars live (although Les Paul Customs are his guitar of choice). Williamson says that all the songs on Raw Power were written in his London bedroom on a Gibson B-25 acoustic and the acoustic guitar used in the studio was a Martin D-28. A Vox AC30 amplifier was used for recording Raw Power.[28] Williamson says he plugged his Les Paul Custom into the AC30's Top Boost channel, volume at full and bass low, and played primarily on the Custom's low-impedance (hand wired) bridge humbucker pickup; no effects pedals were used.[9] Williamson often used Marshall amplifiers when playing live in the 1970s, and recently switched to Blackstar Amplification's Artisan 30 for live use.[29]
All guitars currently used onstage by Williamson are equipped with low-impedance, microphonic, humbucker pickups modeled after those in his original 1969 Gibson Les Paul Custom. These pickups were custom wound by Jason Lollar who reverse engineered the 1969 pickups, at the suggestion of James' touring guitar tech Derek See, and local tech Brian Michael. In concert, for "Gimme Danger" and "Open Up And Bleed", Williamson uses a Fishman Power Bridge piezo pickup equipped Les Paul (patched through a Fishma Aura pedal) for simulated acoustic guitar sounds.
A detailed gear diagram of James Williamson's 2011 Iggy & The Stooges guitar rig is well-documented:[30][31][32]
Personal life[edit]
Williamson lives in Saratoga, California with his wife Linda. He has a son named Jamie and a daughter named Elizabeth.[11][33]