A Tribute to “The Hansolor” – Mark Adams of Slave

Mark Adams Tribute Intro

Greetings fans…
Many of you have heard of the passing of Mark Adams, THE bass legend of Slave. For fans and musicians, this is a shock, especially at the age he was. Even in his passing, he created and left a legacy of bass playing style and finesse that, in my mind, is unparalleled in every sense of the word. There are MANY bass legends in R&B and Funk – all of who you know about. This blog post is primarily a reflection of my perspective of not necessarily Slave, the group, but the bassist, Mark Adams – his unique bass playing style and influence on me as a musician.

I first discovered of Slave when Slide came out in ’77. At the time I was 15 years old and had been playing guitar for about a year. Back then, there were a lot of guys my age in my neighborhood, and as it customarily was, neighborhood bands were all over the city. Me and the fellas formed such a band, we were all within 2 – 3 years of each other in age (shout out to three band members I am still in touch with today, Tony Matthews, trumpeter, Damon Williams, guitarist (and now bassist) and Julien X. Neals (bassist)). We formed a group entitled “Black Frost” right around the time the Slide came out (maybe before). We were just beginning to write, compose, and play songs in our own right – covers and originals. I distinctly remember us sitting around whoever’s house we rehearsed at, listening to Slave – the horn arrangements, vocals, guitar, drums, and Mr. Mark’s nasty bass playing. We used call the bass track in Slide, the track with that “pure E”, resounding from the first note he opened the song with, and then into the bass solo. Not only did we marvel over that bass track, but we get even more detail of it in “Son of Slide”. Even that smooth track, You and Me, and that signature Ohio funk track “Separated” showed Mark’s nasty style. He had to be no more than 2 – 3 years older than me at the time and I was the oldest member of our group. Although a few members of Slave were older, we continually marveled at how funky Mark was at that young age. Never seeing Slave in concert during the first album, we always wondered what kind of bass he played to get that signature slide, tone, and raunchy deep growl he continually became known for.

At the time because they were just signed to Cotillion Records, Steve Washington went to school in my hometown, and Slave rehearsed there as well, I didn’t know until a short time later that they hailed from Ohio. Original members Orion Wilhoite and Carter Bradley shared an apartment in Orange. NJ, and did some recording at West Orange’s House of Music recording studio. You probably know the story… Steve Washington already had fame in his own right be being related to Ralph “Pee Wee” Middlebrooks of the Ohio Players. Steve left East Orange, NJ to finish his last year of HS in Dayton and had a band with high-school buddies Mark Hicks and Tim Dozier called Black Satin Soul. When Black Satin Soul eventually fused with the Young Mystics Floyd Miller, Mark “The Hansolor”, Adams and Thomas Lockett another band of high schoolers, The band’s name was originally “Congress”, however needing a new name, band member, Floyd Miller walks in with a T-shirt with the name “Slave” written across the front, and “Master” on the back, all were in agreement to choose the band’s new name: SLAVE.  Steve’s father purchased them their first P.A system and Mark Hick’s father bought them their first amp and a couple of guitars, Slave began their journey. Practicing in Hicks’ father’s garage, they held their first concert performance at a “The Roth High School” Talent Show.  Slave’s first rehearsal, according to Thomas Lockett, as at Tim Dozier’s house on October 2, 1975. Arriving in New Jersey, via a long road trip in Tim Dozier’s cargo van the band lived in the Washington’s home while preparing their demo. They’ve only performed live twice before being signed by Cotillion. The first show was April 1, 1976 at Roth HS, and their second show was a prom night for Fairview High School, according to member Floyd Miller. Their hit “Slide” was written, arranged and recorded in the living room of Washington’s parents home. Once completed the demo was presented to Jeff “Free 1” Dixon, an established program director at WNJR-AM in New Jersey, who would assist in getting the band a record deal. They recorded their hit Slide, in one take, at a small studio in Sayreville, NJ, along with the rest of the debut and Mark was either 16 or 17 when that monstrous bass track was recorded in studio. Though doors were closed, an open door came with the newly formed Cotillion Label, when Henry Allen, President of Cotillion signed the young group.

When “Hardness Of The World” came out later that year, the back of the album jacket showed them in concert, with Mark playing that Alembic Bass (see above)…a bass guitar already revered by all of us. We knew that the Alembic was the bass that created the magic, but as some of us know, it’s really the Fender Jazz Bass copy that Mark rocked like a monster, as far as I know. I chose that picture out of all I’ve seen because I think it captures the defintion of Mark’s playing style, definitely nasty, definitely funky. The one below is a widely known one from the spot they did on Don Kirschner’s Rock Concert.

Here’s the 14 min appearance on the show.

Hardness Of The World showed more of Mark’s developing signature style, on tracks like Volcano Rupture, Party Song, and The World’s On Hard. What Mark established from the debut album was that “slide”, and he had a way of placing it, whether it was up or down the neck, that was unique. By this time, Slave always was becoming known not only as one of the hottest new R&B bands, but a funk rock band, evidenced from tracks like Slide and, Volcano Rupture.

The third release, The Concept, proved to everyone that it was an all out funkfest. Mr. Mark called a young Steve Arrington, 21 years old at that time and fresh off touring with Pete Escovedo’s band, from the West Coast to join Slave. At the time, Tim Dozier was exiting the group after recording all the drum tracks for The Concept, except for “Stellar Fungk, which Arrington laid the drum track for. Steve’s vocal debut was on the track, Coming Soon, and he also played percussion on the album. It was at this time that THE definitive female voice of Slave joined the group, Starleana Young, infusing a style that years later would be trademark to Slave’s sound, and Starleana adding that female voice that later became trademark to Aurra. Mark’s style on Stellar Fungk, I think was the beginning of a style that became definitive throughout the next seven albums – that combination of deep growl, fingering, slides, and pops. It was the first time I think Mark started to use effects like an envelope follower on the bass (listen to Drac Is Back/We’ve Got Your Party). Three things stood out to me about Mark’s style in that stretch of releases:

  • His plucking style: There are times where his pull up notes were clean, and single (i.e. Sizzlin’ Hot), other times they sounded like more than one note being plucked (i.e. Just A Touch Of Love). Then other tracks had a mix of both, like K.O.G (New Plateau). This type of plucking is called double stops (as Robin Bramlett explains later in this post).
  • The growl, fingering, and the slides: The way Mark fingered his notes elicited a deep, raunchy, but smooth style I have NEVER heard another bass player sound like. I don’t know of it was the Fender Jazz, the Alembic or what…but it was a mainstay of his style. The slides, whether they were in the high registers or down in the basement, he placed them in an uncanny way that made the funk…undescribable.
  • The accidentals: I think this may be what made Mark stand out the most, though the I’d be hard say it was the number one thing. He placed accidental notes in his playing that caused a tension, a feel, that took that funk to another level. Yeah, Larry Graham plucked, Louis Johnson had that thunder thumb, Bernard Edwards had the smoothness, but none used note placement like Mark. Two perfect examples of Mark’s use of accidentals are at 2:16 and 4:42 in Just A Touch Of Love, and through a lot of “When I Come Home” with Aurra, but specifically at 4:44 and 4:52. That song is really good example of how he incorporates all these aspects, but more towards the cleaner feel vs the grittiness of Stellar Fungk, or the nastiness of Motorway or I’ve Got To Get You (Unchained At Last). As for the fingerstyle funk, I gotta give it to him on Shine (from Just A Touch of Love, years later, on Slave 88, they release another track by the same name, but with totally different music) and Dreamin’ (Stone Jam). Hansolor ALSO played bass on Aurra’s track “Who Are You”…a return to what I consider his more laid back tones, a la “Can’t Get Enough Of You”, from the Hardness Of The World LP.
  • Enter 1979, and the album Just A Touch of Love, the smash hit off that album. This release had some sleepers on there like Shine, and the ballad Thank You, where Mark showed that unmistakable funk fingering style. Enter Curt Jones adding a new dimension to the lead vocal stylings of Steve Arrington, Starleana Young and Danny Webster – all giving it up on my favorite ballad, Thank You. It was the first time I’d ever heard a bass player making a ballad funk (re: that fingering, slides, and pluck right before the verses started). There was one silly, but CRAZY funky track called Warning.
  • That funk style grew to larger heights on Stone Jam, especially on the pluck vibe with tracks like Never Get Away, Sizzlin’ Hot (I don’t think they could have penned a better name for that track), and the title track, while that “finger funk” was heavy on Feel My Love, Dreamin’ and the smash hit, Watching You. This was about 1980, when Mark was about 20 maybe. Everytime I think about how funky and nasty that boy was at that age, I shake my head in disbelief. Steve Arrington had defined the vocal aspect of Slave on Watching You. It was the first time I can remember Mark introducing the style of “pick bass” (using a guitar pic to play), in the bass solo to Watching You.
  • This was also one year before what some would consider Slave’s most commercially successful album, Showtime in 1981. With Steve Arrington bringing Slave’s vocal game to its highest point, he left to go solo, starting with Steve Arrington’s Hall of Fame I. My favorite tracks went beyond Snapshot (once again incorporating all the elements of his signature style) and Wait For Me, to Spice Of Life (pluck madness) to Steal Your Heart, that smokin’ track “Smokin’ (had that bass track feel that started like Just A Touch of Love, this might be my favorite non-single on the album), and the sleeper, Funken Town. What I liked about Showtime was the elaborate string arrangements and the horn arrangements, even though all the original Slave Horns didn’t record on that album, it was reminiscent of Steve Washington’s time with Slave, citing “the groove has been changed, but the name remains (…it’s the same, it’s the same game).” The pegged the name “Jam Patrol, Inc” (“Smokin”, “Funken Town”).
  • In ’82 Mark’s style continued to be untouchable, uncopied, and pretty much signature through the release Visions Of The Lite. He began to incorporate the flanger effect on his bass on tracks like I’ll Be Gone and Sweet Thang (nice track on Visions Of The Lite) and a few others from that release. Visions Of The Lite (at least in my area) had not major hits, but had a lot of phenomenal bass playing on it, for sure…there were actually some bangin’ tracks on that CD.
  • In ’83, Bad Enuff was released, no major hits either, but the bass nastiness continued, again with more pick bass playing as well. I like Bad Girl and Showdown…still with that deep growl, slides…the whole nine.In my opinion.
  • Mark’s inimitable style of bass playing got just a lil nastier on the New Plateau release in ’84. The credits list a new recording system that by Sony that was used in recording the tracks. The electronic drums became very prominent. I personally noticed a difference with respect to the way the whole album sounded. Mark’s bass is deeper, louder, and grittier…but he laid off on the flanger effects. The tracks had a big sound, bangin’ drum tracks, even on the ballad “Forever Mine”. At this release, Slave was, for all intents and purposes, Mark, Danny, and Floyd (as evidenced from the inner album jacket picture). “The Word Is Out” is a track off the release that has Mark’s “in your face” bass track. Strangely enough, I think it’s the only track that had an official video produced for it.
  • One year later, in 1985, Unchained At Last was released. (Trivia question #1: The title of this album came from what song lyrics from a previously released Slave track?). The first two tracks, Jazzy Lady and I’d Like To Get You again showcased Mark’s nasty, edgy style of fingering and razor sharp plucks, with I’d Like To Get You being my favorite….tight intro, the bass track for the bridge is nice, horns kickin’ throughout the track. The bass track for Thrill Me is definitely a spinoff from Snapshot…flanger, and fingering for sure. Nasty track through and through though. There is one track from this CD, Don’t Waste My Time, that I believe has the deepest growl that I can remember coming from Mark’s bass…definitely slightly different than earlier tracks.It was around the 1982 that Slave began to venture outside the Slave Organization, from a musical standpoint. Jimmy Douglas who produced their debut album also produced Odyssey’s track “Inside Out”. From the minute I heard it, I knew that the members from Slave were on this track. Obviously the track is a bite off of “Watching You”. The odd thing (I just found out today), is that there was differences of opinion in the bass guitar community regarding who actually bass on this track – Mark or another bassist trying to cop Mark’s style. Here’s a thread from prince.org that talks that controversy.There’s been a lot discussed about Mark’s umistakable and and signature sound. Here’s what bassist Robin Bramlett describes about his style on the track “Stone Jam” vs the track “Ooooh”  (from the New Plateau LP):

“He is using minor 3rd double stops on Ooooh as well. The song is in a different key from Stone Jam so not the same notes but the same distance between the notes. I hope that makes sense”

Here’s what Curt Jones of Aurra had to say to me:

“Hey brother, I wasn’t involved in that, by then we were either working on or had released Are U Single. The sound of the bass is unmistakably Mark Adams, his sound and touch was unique. Sorry i think the only one who really knows all about that is Jimmy Douglass. Stay well brotha. Peace.”

Here’s the video, take a listen: “Inside Out”.

Note: It has been confirmed to me via written dialogue (indirectly), by an ex-member of Slave, that it was NOT Mark Adams on “Inside Out”, but bassist Sandy Anderson from Unlimited Touch. Why Jimmy Douglass chose Sandy and not Mark is (now) a story only Jimmy (probably) can confirm. My final say on it…if you listen close enough (especially on the bass solo breakdown), you will hear that it is not “the great Mark Adams”.

Trivia question #2: Slave actually recorded a radio commercial for a hair care product company. They actually recorded three different versions. What was the company and what song beared resemblance to the music they composed for the commercial? [I remember hearing the commercial over the NYC airwaves and after over YEARS got one of the members of Slave to remember and comment on the commercial)

In 1985, I was in my senior year of college and remember seeing Slave’s first actual compilation on vinyl, in a Bridgeport, CT record store. If memory serves me correctly it was called Slave ’85.

In 1987, “Make Believe” was released. A lot more synthesized then any other previous release, and while like tracks like Juicy-0, You Take My Breath Away, and You’ve Got The Power To Say No, I think this album marked the moment Mark’s playing began to exit from it’s signature style. Make Believe has some nice tracks on there, but they bit off of Cameo’s style waaay too much on some, specifically with the vocal approach, drums, and synth stylings.

The following CDs Slave 88 (Ichiban 1988), “Rebirth (Ichiban 1991)¨, The Funk Strikes Back (Ichiban 1994), and Masters of the Funk (Ichiban 1996) released new material and newly recorded reissues but they had nothing that really jumped out and grabbed me. In my mind, the evolution of the arrangements didn’t encompass Mark’s signature style anymore, but tracks like She’s Just That Kinda Girl are phat….

Here’s a video with Mark and Drac back in ’95, right before Masters Of The Fungk was released.

As R&B evolved and Slave as we knew them slipped into the shadows, Mark garnered great respect in the bass guitar community and was never forgotten. Here are a few links from the Talk Bass forum about him (thanks to Damon for hookin’ me up with these):

Mark Adams on the TB forums: Thread 1
In Memory
Rest In Peace

Mark’s Basses

Mark played a number of basses with Slave. He’s been seen playing an Alembic, MusicMan Stingray and a Rickenbacker, but he gravitated to a number of custom Fender Jazz bass copies, many with three pickups. Most of his J-Basses were made by Stars Guitars with a Stars Guitars preamp built in.

By the time The Concept was being recorded, he had started using effects his bass tracks, like flangers, chorus, and envelope followers like the famed Mu-Tron III.

Mark’s Bass Rig

It’s a commonly known fact that The Fearless Leader. Steve Washington, was the chief architect of Mark’s live sound. Here’s what Steve said about what he used in those early days of recording Mark at Steve’s home and creating that live rig, as summarized in a December 9, 2013 FB post from his page

  • Cerwin Vega cabinets – 6 Cerwin- Vega v32’S. which were a 12″s front Loaded horn
  • 2 Cerwin-Vega 18″s L-48 DD’s
  • 2 L48 Se’ EARTH QUAKES long throw Folded horns , tweeters
  • 2 JBL 2X 15”s,2 Cetec Gauss 15”s .Cerwin – Vega 2 V35
  • 2 cerwin-Vega B 36’s,
  • 2 B48 MF’s
  • 2 Cerwin – Vega RMH 1 Radial Horns with tweeters
  • 4 Yamaha P2200’s
  • 2 Yamaha 2100s and 2 Peavey 800’s Bridged in mono
  • 1 Cerwin Vega1200 power amp
  • 2 Urei LA 4 2 limiters , 2 parametric EQ’s , 2 Furman 3 way electronic Crossovers,  6300 watts RMS or 12,600 Peak Power
  • Mark used an Ampeg SVT Head with 2 8X10″ cabinets in the beginning and they were later used in the Rig. I had Mark use 24 cabinets s as time went on
  • The Yamaha P2200 powered the Bass Rigs for Slave & Aurra’s live Shows. A lot of bands were using the Crown DC300 but Steve (Washington) liked the Yamaha P 2200 a lot more.(Source: Kev Moore/drummer for Aurra)
  • I believe at Martin Stadium/E.O. An SVT With 2 8X 10; and 2 2X15′ woofers
  • Strings: Roto Sounds

The Interviews

Here’s a (way too short) interview from March 2005 edition of Bass Player Magazine. I believe the May 2004 edition has a longer interview. I’d like to somehow get hold of it.

“I’ve been fortunate in Slave that the band has always given me space to be a melody instrument and to lead the groove. I talk through my bass and step forward like a lead singer riffing…”

Circa 2007,  a very short interview with Mark Adams  was done with the online publication, Backstage Lounge.

BL: How do you describe the groove?

MA: From where I stand, the groove begins with bass and drums. In Slave, either [drummer] Steve Arrington or I would start a groove and it would inspire the rest of the band. That was the only way we knew how to do what we did; we seldom planned a groove. It was spontaneous.

BL: How do you cultivate the groove?

MA: What I do is listen for the spice between the hi-hat, snare, and foot…the overall ambience and the subliminal sounds.

BL: How do you enhance the groove?

MA: I’ve been fortunate in Slave that the band has always given me space to be a melody instrument and to lead the groove. I talk through my bass and step forward like a lead singer riffing; I’m constantly in freestyle mode. Steve calls it “anointing bass.” I also look at my bass like a drum kit, using my thumb for the kick and my pops for the snare-like Larry Graham does. That’s what I did on “Just a Touch of Love” [from Just a Touch of Love, Cotillion]. I don’t know how Slave grooves like it does. It’s hard to put into words, but it will always be in us.

Update: Bass Player Magazine did do another article on Mark Adams entitled “Style Study: Mark Adams of Slave”.  I’ve included a link to the entire article  (thanks Lamar Webster).

Mark Adams on “Stone Jam”, as told to music journalist A Scott Galloway:

“By the time I did ‘Stone Jam’, I started feeling this was art, and I was going to stretch out. That’s why that track is like that. I work up to what I was really doing.

Mark Adams as told to A. Scott Galloway about “Snapshot” for the essay of “Stellar Fungk: The Best of Slave” (Rhino/Atlantic)

“That was a groove Arrington and I came up with. We were always good at taking the beat, turning it upside down, and being emotional with the music. We had to argue with Atlantic to make “Snapshot” the first single, though… Arrington always traveled with a camera. The summer after “Watching You”(a song they wrote about girl watching in Central Park, NYC), he just stroll and just be like ‘click-click!!”

Mark Adams, again, to A. Scott Galloway. on his playing style:

“Slave’s first tour was with The Commodores, then we switched to Grand Central Station and The Brothers Johnson. Every night, for two straight months I had my favorites to study under: Larry Graham and Louis Johnson. An earlier influence was Mel Schacher (of Michigan-based Rock band Grand Funk Railroad). I got that (fret sliding ‘whoo-whoo’) sound from listening to him on songs like ‘Paranoid’ and ‘Into The Sun’. It came from me improvising a way to get to my next note. I incorporated that into my sound which was also a mixture of Stanley Clarke’s guitar sound on bass, Louis’ plucking, Larry’s slamming with the thumb and that sting which I got from Verdine White (of Earth, Wind and Fire).”

~~~~~~~~~~~~~

The tracks I present in the podcast are ones that I think best respresent the untouchable, unduplicated play style of Mark Adams…the style I best tried to put in words above. I invite you to comment on some you think I may have missed.

Lastly, I send my condolences out the Adams family. I wish them strength and peace during this time, and even afterwards. I was talking with Damon today about Mr. Mark, the influence he left on us as young musicians (actually not much younger then he was), and how we all came up in a time where being a musician in that era was something special. Not that it isn’t now, but things were different then. In urban communities, and lifestyle, the band is no more (save Mint Condition for the most part), and while I readily use computers to sequence, sample and play samples to compose my own music, there is and will never be anything like actually PLAYING a musical instrument. Personally, Mark’s departure has a different effect than even Michael Jackson’s had on me. I guess because there was a connection, a local connection, to the neighborhood we grew up in, the sitting around listening to each Slave album released back in the day….it’s just different.

Here are some great words of remembrance from friends and family that are members of the various Slave fan pages on FB:

Robin Bramlett (2011)

I declare March 5th National Hansolor Day! What does that mean? It means on that day listen to nothing but songs in which Mark Adams played bass. 🙂

The first Slave song I learned on bass at the tender age of…well, let’s just say it was a single digit. LOL – Snapshot. The second Slave tune I learned on bass – Wait For Me 🙂

[Update:  In 2017, The City of Dayton has created Slave Day (aka Mark Adams, Sr Day) as officially being on August 19]

Sheena Lee (2011)

I’m going to go back to when Mark was in elementary school, and would perform in talent shows with Phil Dukes (drums) and John Madden (bass), see Mark played lead guitar then…he got his first music fix as a little boy, when he visited his grandma Hazel in Hillsboro, she played Piano. Mark would watch and listen…his ambition to learn was obvious, and like others have mentioned he played with several local bands. We were in high school when Mark signed with Atlantic, he quit to pursue his career…and the rest is History…I know that he was dedicated, any free time he had he was building cases for his wah-wah pedals or playing his guitar on the porch…

“THE WORLD IS YOURS, REACH OUT AND CARESS, IN SOLACE” MLA Wrote this in my Senior Yearbook…1979

Already coming up on the Anniversary of Mark L. Adams death…May 5th…still hard to believe, I keep pinching myself, I want to tell you Doug in front of the WHOLE WORLD that I love what you’ve done & what you’re doing….Mark spoke of his ‘LEGACY’ so much…with this page youre keeping him in Our minds, heart & soul…and that’s to everyone who shows genuine LOVE for him, Drac and SLAVE…GOD BLESS YOU!

Kim Adams (2011)

Dreamed of Mark all night , he was at different stages of his life, at one point performing on stage with a big afro, JAMMIN’…..that bass, when I woke up I realized March 5th was in a couple of days, and this was why the dream presented itself to me, though we were so far apart, he will always have a special place in my heart as well as yours…funny how all the ladies in his life have come together with respect and love for each other, I find it odd, but beautiful that we are connected, and supportive of each other, I know he’s gotta to be smiling saying “this is something I never thought I see” haha..

 Nicholas Busbee (2011)

Mark Adams once told me that Slide 88 was the way that they used to perform “Slide” when they were live in concert. I like Mark’s bass solo and Billy Beck’s keyboard solo at the end of the track a lot! Mark taught me how to use the fingerboard on my bass to get that extra thumping sound on that Slide 88 version! LOL!!! 🙂

I heard Mark Adams say in an interview that they weren’t exactly satisfied with Hardness Of The World. But when I look at the project as a whole, it was another above average effort. Way above average. And some of these guys were still teens.

Laurence E. Larri Davis (2011)

Mark Adams actually showed med a pedal he altered for his sound…I always wondered how he made that growl sound and he showed me what he did…he was brilliant! I don’t care how many come after him no one will ever have that sound…the ultimate compliment was when Sheena, Lamar and I were talking on Lamar’s page on one of the pics I had of Mark and Louis Johnson chimed in and gave his respects….now that is great respect!

James Sandridge (2011)

I had the great pleasure of being classmates with both Marks (Adams and Drac) at Roth ’76. We were all in woodshop, which of course meant break time lol…anyway I remember we were all chatting (well mainly Drac-he was the conversation guy, Mark Adams just sat and looked cool LoL..)

Rodney Butler (2011)

Still hurt to believe! But he lives on in my headphones. R.I.P Mr. Mark still untouchable!

Neal Jackson (2011)

My life changed when I first heard Slave & in particular Mr Mark’s aggressive Bass style. Since then Slave have been my Number 1 & Mr Mark,my hero. It is with sadness that Mr Mark passed on Steve Arrington’s & my brother,Mark’s birthday & that Drac’s funeral was on my birthday. I’ll have a drink on Hansolors Day.

Curt Jones (2011)

When I had met Mark Adams, Slave already had Slide out. I was still in my band Starchild. Later on when Steve Washington asked me to be a part of Upstairs productions and work with the group, I considered it an honor and still do. When it was time for the brothers to come back from Dayton to join us in N.J. to start recording what became the “Just a touch of love” lp, I’ll never forget how anxious I was to see everybody again. The first person to come upstairs & walk through the door was Mark Adams, he looked at me with a smile, graded my hand shook it and simply said,”welcome aboard”. I felt like a new man and my life changed forever. R.I.P. my brother, we can still listen to you play to comfort us but truly does not compare to having you among us. Till we funk together again your brother ~ Curt J ~ aka CabaL The name only Mark called me, he could be hilarious at times.

Kelsey Reese Pickens (2024)

Around the early 1990’s, I was newly married and living in an apartment in Riverdale, GA south of Atlanta. My next door  neighbor (first name was Doug) was single and living the bachelor life and clubbing heavy. He was a music lover like me and we both were heavy into funk bands. He called me one day and told me to come through because he had a surprise. I swing by and he opens the door for me to come inside. Sitting on his couch is none other than Mark Adams of Slave! After picking my jaw up off the floor, I get introduced to Mark and I’m told he will be crashing with Doug for a minute. Doug met Mark at a club and found out Mark was couch surfing and trying to get on his feet in Atlanta. Mark did not have a bass! Doug and I told him we would take him to get one the next day. The next day we went to a music/sound production business that sold equipment that a Northside High School classmate of mine had. After trying out several,  Mark found a bass he liked. He would always play the intro to Stone Jam to try the basses out. So Doug and I got ready to get a bass head unit and amp for Mark and asked where they were. Mark says, “I don’t want a bass head. Where are the guitar heads?” We all looked at him. Then Mark says, “That’s how my sound gets that bite I like. I use a guitar head, not a bass head.” We ended up buying him a guitar head. I was blessed to go by Doug’s and listen to Mark practice many times before Mark moved on. I don’t know how long Mark was using guitar heads and if he switched to bass heads at some future point. I am not a musician and play no instruments. I just remember what Mark said that day when Doug and I went to get him his life instrument that he needed to make a living. He was such a focused musician who practiced incessantly. I wish I had made a greater effort to watch him do so but realize it would have been selfish. He was practicing, not giving mini concerts. He had a phenomenal work ethic when it came to his musicianship.

Chauncey Allen (2024)

I actually met Mark Adams in San Diego in 90 something when that Slave band performed at a street festival. They just finished a great set. My 1st time seeing Slave. But never saw them when all the original members were together.
They were scheduled 2 twice in the 70s in Toledo, & no showed both times. My favorite group at the time. I was in high school. But when I met him in San Diego. I didn’t notice he was standing right next to me. He just got off stage, & Now the Commodores were closing the show a cpl of songs in. I did a double take. Is that….Oh What!!!! I’m standing next to Mark Adams the Han solar in the flesh

Anyway. He was with his woman, I was with mine whom I recently just started dating & this was her 1st live concert ever.

I gave Mr Adams his flowers, he humbly denied claim he was the greatest. I ask why you out here & not back stage. He said one of his heros on bass is on stage. He’s bad imo. But I let Mark know, that to me he’s my favorite all-time not taking away from all the greats which I recognized. But Mark Adams is my favorite because of his style & sound resignates with me far more than everybody else. Ever. Our convo was not too much more than that. I didn’t want to fanboy him and he was with his woman, I was with mine. Plus I’m not the fanatic type anyway.
And we all enjoyed the Commodores. We chopped it up a little during the show which he initiated on a few occasions. Great chance meet. Cool dude. Humble as heck. I’ll never forget it. Oh I did jokingly let him know I was very upset when they no showed twice in Toledo LoL. After the show we dapped & went our separate ways.
Mark Adams made me feel like a real homie that night in San Diego CA on a beautiful normal night San Diego is known for.

*******

Please take some time to read the comments, where more have said great things about Mark. You can also view a gallery of photos I’ll periodically update. Click here to view it. Lastly, thanks to music journalists A. Scott Galloway and Ricky Vincent for providing insight via their essay content.

He’s in a better place now. Rest in Paradise, Hansolor.

Lastly, to aptly (and fittingly) quote Slave: “It’s about time somebody realized who funk is!”

 

Thanks for the read…::: oceans of rhythm :::

Fresh!

About Fresh

Mac Fan/Sys. Engr - NASA planetary missions. guitarist/producer/AFOL/fitness fan/film+TV+sndtrk composer/podcast host/Python newbie coder. Music by me: http://SFTF.bandcamp.com. Mellowly Cool. Find me on X and Bluesky
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132 Responses to A Tribute to “The Hansolor” – Mark Adams of Slave

  1. great informative piece, i’ll put link on my blog!

  2. Fresh says:

    I appreciate the comment! Thanks!

  3. Bishop Kenny says:

    Mark Adams is one of the reasons that I play Bass Guitar today, He was one of the most Funky Bass Players of all time, an unsung hero of the Fungk and he will never be forgotten. Now Mark will funk in the heavens for YHWH. R.I.P. my funky brother…..

  4. Fresh says:

    I feel the same way you do, B….He was the reason I took up bass as well….

  5. DWBass says:

    Thanks for the tribute. Just wanted to clarify one item. Mark did not play on Odyssey’s “Inside Out”. That was a friend of mine, and former bandmate, Sandy Anderson. This was cleared up several years ago and there was even a correction made in Bass Player magazine. In any case, Mark will be missed. While I was already playing bass by the time I had heard him, the funk he put out opened my eyes!

  6. Fresh says:

    D,
    Thanks for the comment, I definitely appreciate it. As for Sandy, yeah, I read all the threads I could come across because I just recently discovered the debate via a former bandmate who is on the TalkBass forums too. I know that Jimmy Douglas produced the track, and used members of Slave on it, though it was written by someone else. I’d like to see proof that Sandy did it, ’cause I’ve heard bass players emulate other bass players, but in my opinion, no one has emulated Mark’s style..it’s too unique. I’m sure it was Mark. Do you know what issue of Bass Player Magazine has the correction?

    Were you part of Unlimited Touch too, or were u and Sandy in other band?

    Thanks, chief… Mark opened up a whole lotta eyes, for sure.
    Keep flowin’…

    Doug

  7. DWBass says:

    Fresh, I was in a band with Sandy a couple years before Unlimited Touch was formed (after our band broke up). Sandy actually played sax & bass back then but only played sax in our band. I asked him about that last time we spoke and he said he quit playing sax long time ago! He was a smokin’ sax player! I was shocked.

    But this is about Mark! A legend! He definitely left a legacy behind! Hopefully his son will form a web presence and allow us into his world!

  8. Excellent piece on the man with the golden touch. I have been playing with his inspiration since the mid 70’s when the first tune I learned was slide, screw your wig on tight, man I could go on forever. For my style of playing Mr.Mark set the path for which I learn to listen whether it was funk or jazz type music he gave me the improvasational mindset on the bass to groove anything and thru his personal ups and downs I always held out hope that he would return as strong as ever. RIP The Hansolor..May the force in music you left behind always stay fresh in my soul !!

  9. Fresh says:

    Pete,
    Thanks for the comment! Everyone was hoping he would remain a driving force. I know that he had plans to produce a group as well. He’ll not be forgotten in the land of bass, and other lands as well!

  10. Fresh says:

    D, I was looking at Sandy’s credits on Discogs.com….dude is definitely a talented musician for sure! Thanks for the all the insight you’ve been giving. Did you hear the tribute that Joe Kelley did (it’s attached to the blogpost). If not, Free, Mark’s fiancee is supposed to release a grip of music Mark has recorded. His son, Mark Jr, came on at the end of the tribute. It would be definitely nice to see him carry on the legacy!

  11. DWBass says:

    Fresh, I listened to some of it. I’m at work and will check out the rest when I get home. I’m looking forward to hearing Victor Wooten’s tribute as well. I may do one in the future. Just some commentary and a little playing.

    Keep doing what you’re doing. Always keep the Funk alive!

    DWBass a.k.a. The Funkfather

  12. Fresh says:

    D,
    I didn’t hear Vic’s tribute, but I’m sure it’s off the chain. Definitely keep me posted if you do something, I’ll definitely link it here.

    Thank you for keeping the funk alive…u guys are the REAL bass players.
    Peace!

  13. Stephen Free says:

    So good to see I’m not the only one up this Monday morning (PST) still tripping off the fact that Mr. Mark is gone. I believe he would’ve been so honored to know the impact his style left behind. I’ve always felt SLAVE were so slept on: (Too “black” for pop radio? Arrington’s unique vocal style?). Who knows but I’d love to see a documentary on them. (Hello TVOne’s “Unsung”!)

  14. Fresh says:

    Stephen,
    Thanks for the post, chief. Your comment brought up and excellent point about being too black for pop radio. I think after Showtime (with Wait For Me and Snapshot getting mad airplay on urban radio), the following albums tried to garner the interest of pop (and urban radio) while keeping their style, but even then the industry was changing.

    A documentary on TV-1 would be crazy nice! I never thought of it, but Slave would be a great group for that.

  15. dale jackson says:

    i got my first bass for xmas in 1978 and i also got the concept album i was determined to learn to play like mark adams he was my mentor a true legend i’ve been in mourning for over a week now jus cant believe it that hes gone feels like i really lost a good friend though we never met RIP Hansolar !

  16. Fresh says:

    Dale,
    Thanks for the comment, man….I know what u mean regarding Mark’s passing. There were many other groups that had continued success past Slave, but there was no bass player like Mark. I hear u loud and clear. Thanks for checkin’ in….

    Fresh!

  17. Ron says:

    Great musician and innovator of funkin’ the Bass. What a loss, but will never be forgotten. RIP Mark Adams.

  18. Fresh says:

    Ron,
    Thanks for the comment. Most definitely an innovator like none other. His style is unforgettable.

  19. Ron says:

    Believe it or not, to this date, when I am practicing alone, I have to play some Slave/Aurra to keep the funk the way it should be. Lots of fun playing behind those driving funk lines which allows the guitarist to really feel the funk and experiment w/so much latitude. Keep his memory alive.

  20. Fresh says:

    Been doing the same for years….He’ll be remembered!

  21. bishopkenny says:

    Hey Thank you Fresh! I just must say to all who knew Mr. Mark, The hansolor personally, thank you for the enlightenment as he was truly respected here in East Orange, NJ and I am sure Steve and the rest of the SLAVE gang will miss him as well….

  22. Tone says:

    Great Piece!

    I’m sure the spirit of Mr. Mark will put some funk in your fingers for such a great tribute.

    I remember seeing Slave live at Marten Stadium in East Orange, NJ. back in the late 70’s
    To see them live was a moment I will never forget.

    I also remeber walking up Maple Ave and standing outside of the house they practiced in; just listening to those brothers jam was an amazing experience.

    RIP Mr. Mark

  23. Fresh says:

    Tone,
    Thanks for checkin’ in. Where were we (the rest of the band) when u went to that concert?? LOL. Good memories. I need not say anything else to you about Slave. In certain ways those were “The Happiest Days”.

  24. Fresh says:

    Kenny,
    You’re still in EO? My family is too, maybe one day we’ll hook up. Thanks for the comment man!

  25. TGrundy says:

    Fresh… this post & podcast is pure AWESOMENESS! Excellent job my friend!

  26. iris says:

    I have know Mark Leslie Adams for over 30 years, he was a hell of a bass player, writer, and producer. Mark and I spent many days and nights as I watched him record new material for his upcoming CD-Bassdog, his family in Dayton, Ohio has so many pics and unheard music that mark wrote and produced. His son Mark Adams the Hanoslor II is the one to talk to about his life and legacy. His sister Patty Adams also has much to say. If you really want to know whaat Mark was doing his last months we all have enough information that will be pleasing to know. Mark was loved by many and will be missed by many. the Love of my life Iris Bradley

  27. Fresh says:

    Iris…Thanks for contacting me, I really appreciate your comment. I’m going to send you and email offline. Thanks again!

  28. Techxdabruiser says:

    Down in TX back then, cats started calling Mr. Mark, “Clank”, because of the clanking sound his Jazz Bass made when he plucked octaves and fifths. After hearing him play on the “Stone Jam” album, Jazz Bass sales went up. Cats would asked the salesman,”does it grunt or clank ? I want that sound !” There’s only one Mr.Mark. His sound should be talked about in bass mags as much as Marcus Miller’s sound is. THE Monster Bass with the killer sound…Mr.Mark Lives !

  29. Fresh says:

    Grunt or clank…I’m lovin’ that! Thanks for the comment. man…!

  30. MsTrisBeats says:

    Great tribute Fresh! I came through this morning and was blown away by this..so informative and the music is truly funky..

  31. Tim C. says:

    Answering the trivia question #2, The commercial was for TCB hair care, with Steve Arrington with the lead singing. I started using it back then because Slave plugged it.

  32. Ross (bassplayer63) says:

    I was reading Bass Player magazine and found out about Mark’s passing. I’ve played bass for over 30 years and he was a HUGE influnce. The bass playing community has lossed a GREAT one R.I.P Hansolor

  33. Fresh says:

    Ross…
    Yeah man, definitely a huge loss. What issue of Bass Player is this in? Thanks for the comment.

  34. Fresh says:

    Tim…BLAM! You got it man….I remember that commercial like yesterday! Good memory, chief!

  35. Techxdabruiser says:

    Thanks Fresh…You’re the man ! Just checked out Aurra’s “When I Come Home”. That song is a textbook example of the “grunt & clank”. Mark tore that bass a new one…and was only 19-20 yrs old. That’s some “Alpha Male Bass” !

  36. Fresh says:

    Thanks for the comment, man…The boy was a BEAST…”When I Come Home” is definitely in the top 5 favorites of anything he recorded. Y’all are schoolin’ me on the “grunt and clank”…ha!

  37. roger simon says:

    mr mark was my idol yes you know you got louis then theres bootsy and bernard the bass player from cameo im also desent but man sir hanslor was a beast my favorite two songs were inside out and aurra make up your mind i like them all but those are my favorite now ive seen the slave review they jammed now and the bass player was very very good but nobody and i mean nobody to me could compair and i use to say what happen to mr mark man i just cant belive hes gone and i think that was his son that i seen now like i say hes very very good sh…t look who his daddy is i just wish i could have seen him and prince together now thats magic R I P IN PEACE MR MARK I WILL REALLY MISS YOU BUT YOU ARE A LEGEND AND EVERYTIME I SLIDE OR PLUCK OR THAT LITTLE STUMBLING DOUBLE UP WHAT IM TRYING TO SAY IS THANK YOU YOU INSPIRED ME I THOUGHT MY SELF I HAD FOUR BASS GUITARS AND COULDNT HIT A NOTE ALL BECAUSE I HEARD WAIT FOR ME LOVE YOU MAN ZAP PEACE OUT

  38. Fresh says:

    I’m feelin’ your comment, man. Mr. Mark is…a legend, for sure.

  39. Mr Smell Good says:

    I’m still in shock about Mark, he was very down to earth, and easy to talk to. He had a very unique style, playing the bass. There is a song off the New Plateau Lp called Thats The Way I like It… You need to hear it, it’s slammin, Mark put the serious clank thru the whole song. And a song called Booty on Drac’s Lp very funky,That song can be found on YouTube. I followed Marks career since i was 8, his style was almost like my fathers but better, when i heard slide i thought it was my father, lol. But when I heard how young Mark was, I couldn’t believe it, so when i was 11, i wanted to be like Mark, so picked up the bass myself, but i’m no mark!!! He is the FUNKLORD, REST IN PEACE!!! You Will Be Missed..

  40. Al West says:

    Just found out about Mark’s passing in Bass Player Mag. A true loss in every sense of the word. Mark’s playing on ‘Slide’ got me playing bass, which has continue throughout my life. When I think of funk, Slave comes to mind, especially Mark’s sound, which is truly special and unique, which makes him a true innovator of music. To think that after all these years of playing bass, it was Mark who inspired me to pick up the bass. Today’s music doesn’t inspire anyone to pick up an instrument and learn to play. Thank you Mark, for showing us the way. Funk on and peace be you my brother.

  41. Fresh says:

    Al: Thanks for the eloquently put comment. There will never be another like Mark. I’m hoping that BP mag does a proper article on him and VH1 will eventually do an Unsung piece on Slave. Peace.

  42. Fresh says:

    Man, I hear u loud and clear. That release New Plateau is straight bangin…I like just about every track on there. That track you mentioned above is not on the New Plateau LP. If it’s a release by Slave, let me know more about it. Mark is undoubtedly the FUNKLORD! Thanks for the comment.

  43. Mr Smell Good says:

    That song thats the way i like it, was their first single on the New Plateau Lp, but wasn’t on the album. I have the single and the 12″ version. When my new turntable gets in, i will be glad to send you a copy..

  44. thatsmecc says:

    My man this was a fantastic piece that you wrote, I am a diehard slave fan from the 1st (the worlds on hard to the last and all the lp’s in between) I have them all, I transfered them to cd’s to preserve the vinyl, I tell my adult sons about slave all the time, the music is timeless and will live on forever in my book, thanks again for the awesome post. I will allways remember the Hansolor.

  45. Fresh says:

    Thanks! The first was the self-entitled album, Slave…and I KNOW u have that! Keep passing it on, bruh. Thank u!

  46. Fresh says:

    Man, Tim…I missed this! Good lookin’ out!

  47. Fresh says:

    peace man! and thanx!

  48. Mark Adams can’t be imitated or duplicated. He had his own thing going on and was a great inspiration for me and my bass playing. His work should be a course of study in music school.

    Nobody Funks Like Finn

  49. Fresh says:

    Walt ::: Great comment, chief. I agree on both statements. He is rarely imitated..and NEVER duplicated for sure. Thanks for visiting and leaving a comment. Keep funkin’

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