In the history of rock there have been precious few bassists as prolific and grand in stature than Billy Sheehan. In his every move, there is a little grace and danger. That is, when Billy Sheehan takes command of a rhythm section, it’s not with a torrid rush of notes but with a series of well-considered phrases. This is not to say he plays it safe, though. Billy has a way of making a song threatening and foreboding.

Sheehan’s presence is undeniable. His masterful grooves project across the rows, his oft cited "spider fingers" creating relentless pulsations. Ah, and then there’s his sound, the real hallmark of the professional. A look at his massive collection of instruments, from basses fretted and unfretted, to baritones, to guitars, reveals a dedication to his craft that exceeds that of the mere journeyman. Many an instrument receives a Sheehan modification, attaining a roughly scalloped neck or, perhaps, custom electronics.



As you will hear in Billy Sheehan: Prime Cuts, Magna Carta Records founder Peter Morticelli has assembled a diverse and stellar collection of tracks. Pete’s recollections of the bassist go back to an era when Billy Sheehan was proving to Buffalo and upstate crowds that he was born for the stadium.



"I've known Billy for thirty years," Pete reflects. "I used to see him play in Talas at local clubs. There was never any doubt that he was going to be recognized as the best bass player in rock; it was his destiny. It was always obvious to me that Billy was a revolutionary player. He is a smart guy with a good sense of humor. All that comes out in his playing."



Billy Sheehan’s Magna Carta repertoire is, with great respect, more interesting and provocative than his work with David Lee Roth and Mr. Big. On Magna Carta releases, Sheehan is reacting to novel musical circumstances. Tweak the volume and prepare for an adrenaline rush.