Free’s Andy Fraser – a man of tone and taste

Tämän jutun alkuperäinen suomenkielinen versio löytyy TÄÄLTÄ.

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In 1970 it looked very much like the band Free would become the ”next big thing”. The band was talked about in the music press as the ”new Rolling Stones” and the ”next Led Zeppelin”.

Free (left to right): Paul Kossoff (guitar) and Simon Kirke (drums) – standing; Paul Rodgers (vocals, keyboards) and Andy Fraser (bass guitar, piano) – sitting; *** CC BY-SA 4.0; Wikipedia; Simon Kirke ***

Free’s third LP ”Fire and Water”, and especially their single ”All Right Now, were smash hits, and the band played the Isle of Wight Festival to great success. Their musical mix was very enticing:

Singer Paul Rodgers had (and still has) a magnificently soulful voice that’s just made for Blues Rock. Drummer Simon Kirke followed a strict ”less is more” approach, which was very rare among his peers in the late Sixties and early Seventies. Paul ”Koss” Kossoff’s ability to wring every last drop of raw emotion from his guitar quickly turned him into a bona fide Gibson Les Paul-hero. Despite his tender age of only 18 years, bassist Andy Fraser was the man behind the majority of Free’s songs; his tasteful playing and fat tone glued the band’s arrangements together.

*** CC0; Wikipedia; Nationaal Archief NL ***

Sadly, Free’s story came to a premature end. Their follow-up records didn’t measure up to the success of ”All Right Now”, and the band started looking increasingly rudderless and without a clear musical outlook. Adding to this, Paul Kossoff descended further and further into alcohol and drug dependency, making the situation ever harder to bear for his bandmates. After a few starts and stops Free finally broke up in 1973.

Rodgers and Kirke started the band Bad Company, which found greater success and had a much longer run. Kossoff, too, started his own band, called Back Street Crawler. Sadly, Koss Kossoff died from a lung embolism at only 26 years old in 1976 during a flight from Los Angeles to New York City.

Andy Fraser tried to continue his success in a number of different line-ups, but finally moved to the USA in 1976, and started concentrating on songwriting. Robert Palmer’s hit single ”Every Kinda People” is a fine example of Fraser’s post-Free output. Fraser died in 2015 from a heart attack; he was only 62.

Andy Fraser’s ”less is more”-approach to bass playing

In a way, it seems that many people have forgotten to include Andy Fraser in the list of all-time great bassists, despite the fact that most of his basslines were vitally important to Free’s songs and arrangements.

Despite his youth, Fraser never overplayed. He could be very fast and flashy, when required – listen to the bass solo in the song ”Mr. Big”, for example – but most of the time he deliberately held back to make Paul Rodgers’ voice and Koss Kossoff’s guitar playing shine. Andy Fraser thought more like an arranger than like a bassist, always looking for the best way to serve the song.

One of the best examples of Fraser’s approach is the main riff/vamp on the song ”Mr. Big”. The sparse drum pattern is interlocked with Fraser’s bassline and Kossoff’s guitar stabs. Although this song is relatively slow (82 BPM) the musical backing approaches you like a relentless mechanical beast.

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In Free’s all-time classic ”All Right Now” Andy Fraser doesn’t even play in the verses, joining the band only for the choruses and (the end of) the guitar solo.

When the ”Fire and Water” LP was released, Island Records chose ”All Right Now” as the obvious single. Island felt, though, that the song was too long in its album form, and they also wanted a deeper, more radio-friendly bassline. This is why the single version edits out the first part of the original guitar solo, and also why the bass parts in the choruses differ from the LP version. Andy Fraser recorded a new bass part, one octave down from the original recording, and the record company was satisfied.

Here are both versions of the first chorus:

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Andy Fraser plays an interesting vamp over the latter part of the guitar solo, which is included in both the album and single versions. The vamp starts off with a low motif over an A-major chord, before jumping way up high over the G- and D-chords. He actually plays the high notes together with the open A-string on his bass, but I’ve simplified this for the notation.

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Andy Fraser achieved his fat mid-range-centred sound by playing a short-scale Gibson EB-3 bass, that sports a huge humbucker next to the fretboard and a mini-humbucker by the bridge. Some call this model the ”SG Bass”. I’ve used my inexpensive Epiphone EB-0 for the audio clips.

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Raysen Handpan – missä musiikki ja meditaatio kohtaavat

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Handpan on melko uusi tulokas viritetyn perkussion soitinryhmässä, joka ilmestyi noin 15 vuotta sitten, samoihin aikoihin kuin tongue drum -serkkunsa.

Handpan koostuu kahdesta kellomaisesta puolesta, joita on liimattu yhteen niin että soitin muistuttaa hieman ufoa. Yläpuoliskolla on keskellä suurin soittoalue – ns. Ding – josta saadaan handpanin perusäveltä. Alapuoliskon keskellä taas sijaitsee handpanin ääniaukko, nimeltään Gu.

Kaikissa handpaneissa on soittimen yläpuolen sivussa yksi rivi erikokoisia soittoalueita; mitä suurempi alueen läpimitta on, sitä matalampi sen tuottama ääni. Perus-handpaneista saadaan yhdeksän eri säveltä – Dingin tuottama perusävel plus kahdeksan äänistä koostuva sävelasteikko.

Jotkut mallit tarjoavat laajemman sävelkirjon lisäämällä handpanin yläpuoliskolle toisen rivin soittoalueita. Välillä lisätään jopa soittoalueita handpanin alapuoliskolla.

Handpanit soitetaan joko sylissä tai puutelineen päällä makaavana. Handpania soitetaan yleensä käsillä tai sormilla – Ding-perussäveltä lyödään tavallisesti soittoalueen kuvun keskeltä, kun taas muita säveliä saadaan kuulumaan soittoalueiden reunoihin lyömällä.

Vantaan Musiikki tuo maahan varsin laajan valikoiman kiinalaisia Raysen-handpaneja. Saimme testiin yhdeksänäänisen mallin arabilaisella hijaz-sälvelasteikolla.

Raysen HP-M9 C# Hijaz (1.100 euroa; laadukas bägi kuuluu hintaan) on täysikokoinen handpan (läpimitta 53 cm) ruostumattomasta teräksestä.

Laadukkaan handpanin valmistukseen kuuluu runsaasti käsityötä, mikä näkyy luonnollisesti myös soittimen hinnassa. Etenkin soittoalueiden tarkka virittäminen vie paljon aikaa.

Lähes kaikki Raysen-handpanit ovat saatavilla joko standardivireessä (a’ = 440 Hz) tai aasialaisessa virityksessä (a’ = 432 Hz). Testissä käynyt Raysen HP-M9 C# Hijaz oli standardiviritteinen malli.

Handpanin perustekniikka saadaan nopeasti haltuun, minkä jälkeen voi tutustua panin sävelasteikon tarjoamiin mahdollisuuksiin.

Koska handpanin rakenne on hyvin kellomainen, yhden soittoalueen lyöminen tuo esiin myös harmonisia lisä-ääniä soittimen muista sävelistä. Myös handpanin perussävel soi usein hiljaa muiden äänten taustalla.

Handpan sopii loistavasti world music -genreen, mutta on myös oiva taustasoitin meditaatio- tai joogaistuntoon.

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Review: Northstar Guitars NS-1 HSS, NS-1 HH, NS-2 & NS-3

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This review was originally published in FINNISH.

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How do you know that a new feature or phenomenon is here to stay? By finding this feature in instruments priced under 300 euros.

Northstar Guitars is a new brand of affordable electric guitars that focuses on heat-treated wood (also called “roasted”) in the necks of their Fender-style models. At first, heat treatment was only a feature found in custom shop instruments. Over time, roasted necks began to be available in mid-priced electric guitars as well. And now they can even be found in affordable instruments.

The whole idea behind heat treatment is to change the properties of recently felled wood into old and well-dried wood. When done correctly, heat treatment improves the sound of the entire guitar, and it also reduces the movement of the wood in response to the changing seasons.

Northstar Guitars is the brainchild of British company Tanglewood, known for its acoustic stringed instruments, which are manufactured in Asia. The company’s experience in both supplier selection and quality control has now been channelled into this new affordable electric guitar collection.

We received four electric guitars for this test from Northstar’s importer, Musamaailma – three Fender-style models, and one Les Paul copy.

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Northstar NS-1 HSS ja NS-1 HH (229,– € each)

Northstar Guitars has chosen the NS-1 model number for its Strato-like models. The company only offers a limited number of colour options, which is a deliberate decision that keeps the price of the guitars down.

The NS-1 HSS guitar comes in a finish called Inca Silver, while the HH version comes in a finish called Charcoal Frost. Both are beautifully executed metallic colours.

Both instruments use roasted maple for the neck and fingerboard. The wood looks beautiful, and there is even a slight flame visible on them.

Interestingly, the degree of roasting of the necks and fingerboards is different on the HSS and HH guitars, which is why the position marks on the NS-1 HH are a bit difficult to see, especially in dim lighting.

The Northstar NS-1 instruments use solid poplar for the bodies. In this price range, the affordability of the wood outweighs weight concerns, which is why the HSS model is comfortably medium-weight, while the HH guitar is already a bit heavier.

The workmanship of the Northstar NS-1 models is very neat, for example the quality of the fretwork is clearly among the best in this price range.

Everything seems to be in order in terms of the quality of the metal parts in the Northstar NS-1 guitars. The tuners are of the modern, enclosed and permanently greased variety, while the vibrato bridges are vintage-style (but with a slightly thinner block).

The pickups of both models use ceramic magnets. The HSS option has two single-coils and an open humbucker, while – as its name suggests – the NS-1 HH is an option with two open humbuckers. In the HSS model, the electronics consist of a five-way switch, as well as a master volume and two tone controls. The HH guitar has a three-way selector, as well as master volume and tone controls.

The playability of the Northstar NS-1 HSS and NS-1 HH is first-class. The guitars have identical neck profiles – a nice medium D – and the playing feel is fast and effortless.

The single coils on the NS-1 HSS sound deliciously dynamic and have a good dose of “woodiness”. The guitar’s humbucker pickup is well balanced with the single coils in terms of its output level, and this pickup also has a certain vintage style to its sound.

The NS-1 HH is clearly aimed at rock-minded players, as the pickups have a little more power and a very deliciously rough attitude.

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Northstar NS-2 (229,– €)

The model number of Northstar’s Tele guitars is NS-2. The test instrument is finished in a creamy Vintage White colour.

The basic materials of the NS-2 are the same as those of the NS-1 guitars – a roasted maple neck, roasted maple fretboard and poplar body. Here too, the bolt-on neck has been given a thin matte finish, while the body is gloss lacquered.

Here too, the fretboard’s roast is relatively dark, which can make it difficult to see the fret marks in low light.

Since the NS-2 is a Tele-style instrument, the guitar naturally has a vintage Tele-style bridge. In this case, it is a so-called top-loader bridge, where the strings are not passed through the body, but rather anchored to the back wall of the bridge. This solution was found in original Teles from 1958/59, and its idea then was to speed up and facilitate the construction of the guitar.

Some claim that a top-loader bridge is a bad solution that degrades the guitar’s sustain and sound, but I haven’t noticed anything untoward about this Northstar. Well-known top-loader fans include Jimmy Page (Led Zeppelin) and Jim Campilongo, and both guitarists’ signature models feature this supposedly inferior bridge solution. So much for online rumours…

The workmanship and playability of the Northstar NS-2 are also of a very high level, and this test specimen was the lightest guitar in the test.

The original Telecaster was designed to offer the widest possible range of sounds – the bridge pickup is a bright and rootsy country and rock pickup, while the neck pickup offers a very warm and round jazz option. The ”both-pickups-at-the-same-time” selection, which only officially entered the picture in 1967, has adds some great funk sounds to this recipe.

The Northstar NS-2 offers good versions of these sounds with a small early-1970s emphasis, which has a bit more bite than the early 1950s Teles. This guitar will give you some great James Burton-style sounds from Elvis Presley’s Las Vegas era.

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Northstar NS-3 (359,– €)

“And now for something completely different…”

The Northstar NS-3 is a Les Paul Standard-style electric guitar from Northstar. The NS-3’s body is carved from poplar. The maple neck is glued to the body and the bound fingerboard is rosewood.

The body and back of the neck are finished in a glossy Charcoal Frost metallic color.

The NS-3’s hardware consists of a tune-o-matic bridge and a stopbar tailpiece, as well as enclosed tuners with metal Kluson-style knobs.

The Northstar NS-3’s pickups are covered humbuckers. In addition to a three-position toggle switch, the guitar has four controls – each pickup has its own volume and tone controls.

Again, the workmanship and playability leave nothing to be desired in this price range. Based on the test sample, the weight of the NS-3 is still within reasonable limits. The neck profile is – as befits this type of guitar – a slightly rounder D, and it fits my hand very comfortably.

The Northstar NS-3’s pickups are not spoiled by excessive power, and they sound deliciously creamy and very dynamic. Thanks to the surprisingly high-quality pickups, this model covers a wide range of sounds – from clean and warm Jazz to rough 1970s Rock and modern Metal.

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Press Release: Ruokangas Introduces Non-Potted P90 Pickups That Resist Microphonic Squeal

Harviala, Finland — Ruokangas Guitars has introduced Rauni and Ukko, a new pair of soapbar P90 pickups designed to deliver classic single-coil authority while remaining stable at stage volumes. Developed throughout most of 2025, the pickups feature the company’s proprietary Flux-Coil™ stabilization technology, allowing them to remain non-potted without the microphonic squeal.

Flux-Coil stabilization was first introduced in Ruokangas’ Aino & Väinö humbuckers, which received the 2025 Gear of the Year Award from Guitarist magazine (UK).

“P90s are famous for their punch and raw authority, but the line between musical grit and harshness can be razor thin”, says Juha Ruokangas. “With Flux-Coil stabilization we can keep the pickup non-potted, which preserves openness and touch sensitivity, while eliminating microphonic squeal often an issue with non-potted pickups.”

Rauni and Ukko are true single-coil soapbar P90s designed for use individually or in matched multi-pickup configurations. Sets of two or three pickups can be configured with hum-canceling in-between positions.

Find out more HERE.

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