Mike Batt
vocals / kbd / producer / arranger
solo / ex.Wombles
birth : Feb.6 1950 / Southampton, England
residence : Surrey, UK

Solos with Spedding original albums
Portrait Of The Rolling Stones
Portrait Of Elton John
Portrait Of Simon and Garfunkel
Portrait Of Bob Dylan
Portrait Of Cat Stevens
Portrait Of George Harrison
Tarot Suite
Hunting Of Snark
Philharmania - vol.1
Bright Eyes At The Railway Hotel (Rough Assembly)
A Songwriter's Tale

non-LP singles

compilation - Music Cube

with Spedding
original albums
Wombling Song
Remember You're A Womble
Keep On Wombling

soundtrack album
Wombling Free

non-LP single
Wellington Womble

as a producer  
with Spedding
Farnborough Firework Factory - Too Many People (?)
Vaughan Thomas - self-titled album / single
Pan's People - You Can Really Rock And Roll Me
New Edition - Sunshine Saturday
The Mad Hatters - singles
Art Garfunkel - Bright Eyes
Brabara Dickson - Run Like The Wind
David Essex - Imperial Wizzard
David Essex - The Whisper
Katie Melua - Call Off The Search
Katie Melua - Piece By Piece
Katie Melua - Pictures
Katie Melua - Collection
Katie Melua - Ketevan
Florence Rawlings - A Fool In Love
Bob Blakeley - Performance

prod.by MB
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odd records    
prod.by MB
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link Mike Batt official website

message from Mike Batt
When I first started out I had a little bunch of musicians I used to like to work with, just from having met them on sessions. Ray Cooper was one. Chris was always my favorite guitar player. He could seem a little distant when you first met him. Quite serious. You might even think he was not being communicative; but it was just shyness. He was a quiet sort of guy. When you got to know him he had a lovely sense of humour and a real passion for his music. We became good friends. In the early days, during those terrible cover version orchestral albums I did when I was nineteen - he's right about not discussing the guitar parts much. I would write something like "play damped fifths - heavy chugs" and he would read the chords, plus any tunes I put in. We worked real quick. I still like working quickly. And they were big orchestral sessions, so you had to be trusting of your rhythm section. If Chris came up with something I wouldn't like (as you sometimes can't avoid) I'd suggest changes, but sometime we had a "language" from working together a lot. But actually, when we were laying down tracks without an orchestra, or pre-recording or overdubbing, we discussed all his parts in great detail, down to have much treble or bass to but on his Fender Twin. He played a Flying V and probably a Telecaster with heavy strings, I think. I always remember he used to refuse to use effect pedals in those days, relying on the distorted sound from just overloading the amp's channels and speaker a bit. That gave him this wonderful, solid; not thin, like say, Jeff Beck through a fuzzbox (which is equally good but different). It sounded "tough" and uncompromising and that's what I liked about it. He had (has) an inborne understanding of guitar 'mythology' and style.

(written for GG in November 1995)