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)
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
original soundtrack album - Wombling Free
non-LP single - Wellington Womble

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)
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