Mike Batt
	musician / song writer music producer /arranger
	vocals / piano / keyboards
	solo / ex.Wombles >
	6th Feb. 1950 -

sessions with Spedding
solo album	Batt Tracks (not confirmed) Portrait of the Rolling Stones (not confirmed) Portrait of Elton John Portrait of Simon and Garfunkel (not confirmed) Portrait of Bob Dylan (not confirmed) Portrait of Cat Stevens (not confirmed) Portrait of George Harrison (not confirmed) Schizophonia Tarot Suite Hunting of the Snark Philharmania - vol.1 Watership Down Bright Eyes at the Railway Hotel (Rough Assembly) A Songwriter's Tale The Orinoco Kid
solo non-LP single	non-LP singles
compilation	Music Cube
Wombles	Wombling Song Remember You're A Womble Keep On Wombling Superwombling original soundtrack album - Wombling Free non-LP single - Wellington Womble visit here for more releases
as a producer	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 Ace Hancel Jr - Songs From Croix-Noire
TV apperance	Seaside Special 1975 (not confirmed) Summertime City (Top of the Pops / 4th Sept. 1975)
links	Mike Batt (official website) Facebook Dramatico Entertainment
	not related to Chris Spedding

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 Nov. 1995