JAMES HONEYMAN-SCOTT

'James Honeyman-Scott' (November 4, 1956 – June 16, 1982) was an English rock guitarist, songwriter and founding member of the band, The Pretenders. Honeyman-Scott, commonly referred to as "Jimmy," was the group's lead guitarist until his death in 1982. In addition to his role as lead guitarist, Jimmy co-wrote a number of songs for the band, sang back-up vocals, and played keyboards on a few tracks.

Contents

Early Years and Musical Influences

The Pretenders

Legacy

Equipment

Sources

Discography

The Pretenders

Early Appearances

External links

Early Years and Musical Influences

Honeyman-Scott and fellow Pretenders bandmates Pete Farndon (bass guitar / vocals), and Martin Chambers (drums / vocals / percussion) hailed from Hereford, Herefordshire, England, UK. Prior to joining the Pretenders, Honeyman-Scott played in several bands, including a precursor to The Enid with Robert John Godfrey, The Hawks, The Hot Band, and Cheeks. Fellow members in Cheeks included future Pretenders bandmate Martin Chambers and ex-Mott the Hoople keyboardist Verden Allen. At the time he joined the Pretenders, he was growing vegetables and selling guitars in a music store in Hereford called Buzz Music.
Honeyman-Scott acknowledged a number of influences on his guitar playing (Guitar Player, 1981). Early musical influences included Cream and the Allman Brothers Band. Later, he was influenced by the lead lines and finger vibrato used by Mick Ralphs of Mott the Hoople. Honeyman-Scott also credited Nick Lowe and Elvis Costello with their "big jangly" Rickenbacker-influenced guitar sound (Guitar Player, 1981). During Honeyman-Scott's tenure with the Pretenders, Dave Edmunds and Billy Bremner from Rockpile were influential, as well as Nils Lofgren and Chris Spedding.

The Pretenders

During the mid 1970s, Honeyman-Scott met future Pretenders bandmate Pete Farndon while the bassist was playing with Cold River Lady in Hereford (Melody Maker, 1979). In 1978, Farndon recruited Honeyman-Scott for a series of The Pretenders rehearsals and recording sessions, and he officially joined the group that summer (New Musical Express, 1980). Chrissie Hynde recalled, ''"As soon as I heard Jimmy Scott, I knew I was getting close. Jimmy and I turned out to have a genuine musical affinity."'' (Rhino Entertainment Company, 2006).
Honeyman-Scott's role in shaping the Pretenders sound primarily involved adding melodic lead lines to existing songs to help tie them together (Guitar Player, 1981). He recalled in the early days, ''"We did lots of rehearsing - seven days a week, all hours of the day and night. At first a lot of the licks were very heavy - like 'Up The Neck' started off as a reggae song. I said, 'Let's speed it up,' and put in that little guitar run. The melodic parts of the numbers really all started coming together by me putting in these little runs and licks. And then Chrissie started to like pop music, and that's why she started writing things like 'Kid.'"'' (Guitar Player, 1981).
His style evolved during his tenure with the group; ''"When I joined the Pretenders I could use a lot more melodic stuff, so my style changed quite a bit. Dave Edmunds and Nick Lowe had a lot to do with it...They always seem to have nice little guitar songs that you can sing along to, and that's what I started trying to do."'' (Guitar Player, 1981)
In terms of style, Honeyman-Scott is perhaps best known for his inventive guitar playing with the group. His playing relied on power chords, arpeggiated or percussive rhythms, "dive bombs" live, and short hooks rather than long solos. Although he preferred short fixed patterns, he did admit he was "a lot more wild" playing live (Guitar Player, 1981).
Chrissie Hynde and Honeyman-Scott have both acknowledged the influence their contrasting styles had on each other (Guitar Player, 1981; Uncut, 1999). According to Honeyman-Scott, Chrissie had a unique style he adjusted to in several ways: ''"She does quite a bit of rhythm guitar, and I don't know anybody who plays like her. It's real distinct, and I can't count her beat half the time. Instead, I just put a little guitar line over it, like the lick in 'Tattooed Love Boys.'"'' (Guitar Player, 1981). He joked about his other strategy: ''"I've never told them I can't work out their time at all! They are used to me coming in a bar too late; they think that's the way I play. But it's because I've missed where she comes in! I just bluff it and hope for the best".'' (Guitar Player, 1981). Hynde later summarized his influence on her playing by saying that Jimmy Scott was her "musical right-hand" and that ''"He really was the Pretenders sound. I don't sound like that. When I met him, I was this not-very melodic punky angry guitar player and singer and Jimmy was the melodic one. He brought out all the melody in me."'' (Uncut, 1999, p.62). Chambers later said, ''"Despite everything the original band accomplished in only two albums, Jimmy and Chrissie were just starting to figure out what they were capable of as a creative team."'' (Rhino Entertainment Company, 2006).
In May and June 1982, Honeyman-Scott became involved in his first co-production effort for an album by Stephen Doster that was never released (Austin Chronicle, 1997). He also discussed plans with Jol Dantzig for doing a side project called "The Boss Weird" that was to possibly include Elliot Easton as well. (Dantzig Design Group, 2006).
During the sessions with Stephen Doster in Austin, Honeyman-Scott was called back to London for a band meeting on June 14 with Chrissie Hynde and Martin Chambers that resulted in the dismissal of Pete Farndon from the Pretenders. Two days after the dismissal of Pete Farndon, Honeyman-Scott was found dead of heart failure caused by cocaine intolerance (Washington DC City Paper, 1984; Uncut, 1999). He was 25 years old. James Honeyman-Scott is buried in the churchyard at St. Peters Church, Hereford, England.

Legacy

Although Honeyman-Scott's music career was tragically cut short at an early age, he influenced other well-known guitarists such as Johnny Marr, who noted that ''"...most of all, the jingle-jangle'' [in Marr's sound]'' came from James Honeyman-Scott of the Pretenders. He was the last important influence on my playing before I went out on my own. The first time I played 'Kid' with the Pretenders, I couldn't believe it. I've used that solo to warm up with every day for years."'' (Guitar Player, 1990). In addition, Honeyman-Scott is also credited with discovering the Violent Femmes who opened for Pretenders at the Oriental Theatre in Milwaukee, Wisconsin while the band was on tour (IO Productions, Inc., undated).
Perhaps Honeyman-Scott's greatest legacy was the effect his untimely death had on the Pretenders' subsequent direction and longevity. Chrissie later said that ''"One of the things that kept the band alive, ironically, was the death of Jimmy Scott. I felt I couldn't let the music die when he did. We'd worked too hard to get it where it was...I had to finish what we'd started.' (Rhino Entertainment Company, 2006). At the group meeting on June 14, 1982, Honeyman-Scott suggested bringing Robbie McIntosh into the group in some capacity. After Honeyman-Scott's death, Robbie became the group's lead guitarist for several years (Rhino Entertainment Company, 2006).

Equipment

Honeyman-Scott used a number of guitars during his professional career, including the following:


★ Gibson ES-335 used for Pretenders debut and songs on the Robert John Godfrey album

★ Gibson Les Paul Jr. (1957 - borrowed from Mick Ralphs of Mott the Hoople)

★ Gibson Les Paul (used to record the debut album)

★ Gibson Firebird (1963)

★ Gibson Firebird (Pink)

★ Hamer (3, one red)

★ MusicMan Stingray

★ Rickenbacker 360/12 used during Extended Play / Pretenders II sessions

★ Zemaitis (1980) Metal Front Guitar (2)

★ Zemaitis (1980) Pearl Front Guitar
Just before joining the Pretenders, Honeyman-Scott used an Ibanez Gibson-Explorer style with a Electro-Harmonix Clone Theory pedal and Marshall amplifier in an attempt to emulate the Rickenbacker 12-string sound on songs by Elvis Costello and Nick Lowe (Guitar Player, 1981). Honeyman-Scott recorded most of his guitar parts for the Pretenders debut album using a Gibson ES-335 or Gibson Les Paul.
Honeyman-Scott owned several acoustic guitars including a Gibson Dove, Martin D-28, and a Guild 12-string. Jimmy used Marshall 100-watt amplifiers and BOSS chorus, overdrive, and compressor effects pedals.

Sources

★ Austin Chronicle, Sept 26, 1982, Stephen Doster--Working Class Hero, by Andy Langer, accessed July 23, 2006 at [1]

★ Guitar Player, April 1981, The Pretenders James Honeyman-Scott, by Jas Obrecht accessed July 3, 2006, at [2]

★ Guitar Player, January 1990, Guitar Hero Johnny Marr: The Smiths and Beyond, by Joe Gore, accessed July 3, 2006, at [3]

★ Dantzig Design Group, 2006, "James Honeyman-Scott of the Pretenders." Hamer Unofficial Artist Archives. Accessed July 30, 2006, at [4]

★ IO Productions, Inc., undated, Interview with Victor de Lorenzo, by "Gaignaire" as part of MusiCalifornia radio program. Transcript accessed July 8, 2006 at [5]

★ Melody Maker, February 17, 1979, Say a Prayer for the Pretenders, by Mark Williams.

★ New Musical Express, January 26, 1980, Only a Hobo Only a Star, by Paul Morley.

★ Rhino Entertainment Company, 2006, This is Pirate Radio, by Ben Edmonds. Pirate Radio Box Set booklet.

★ Uncut, June 1999, Rock and Roll Heart (Pretenders Special), by Allan Jones, pp. 46-65.

★ Washington DC City Paper, February 3, 1984, Hynde Sight, by Michazil Yockel, accessed July 4, 2006, at [6]

Discography

The Pretenders

★ 1980 - ''Pretenders''

★ 1981 - ''Extended Play''

★ 1981 - ''Pretenders II''

Early Appearances

1974 - ''Fall of Hyperion'' - Robert John Godfrey

1979 - ''Place Your Bets'' - Tommy Morrison

External links

★ The Totally Unofficial James Honeyman-Scott Fan Site

★ Pretenders 977 Radio

★ James Honeyman-Scott's Metal Front Zemaitis (temporarily down - 2007-09-06)

★ James Honeyman-Scott's Grave at findagrave.com