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Larry Taylor

Samuel Lawrence "Larry" Taylor (June 26, 1942 – August 19, 2019) was an American bass guitarist best known for his work as a member of the band . Born in , Taylor began his music career as a teenager touring with and later became a sought-after , collaborating with artists including , , and . He joined in 1967, contributing to their breakthrough albums and performing at the 1969 Woodstock festival; he left in 1970 but rejoined for later periods. Nicknamed "The Mole", Taylor was also the younger brother of drummer . After a 12-year battle with cancer, Taylor died at his home in Lake Balboa, , at age 77. He was survived by his wife Andrea and their three children: son Danny and daughters Rebecca and Molly.

Early Life and Background

Family and Upbringing

Larry L. Taylor was born on February 12, 1942, in , to Robert Lee Taylor and his wife. His father was a veteran, instilling a strong sense of in the family. Taylor grew up in the neighborhood of Chattanooga, nestled below , in a community that emphasized the importance of military values. He had a sister, Barbara T. Lemley. During his youth, Taylor developed an interest in service, influenced by his family's background.

Education and Early Military Training

Taylor graduated from (now Chattanooga School for the Arts and Sciences) in 1961, where he participated in the wrestling team in 1960, served as Cadet Captain on the ROTC drill team by 1961, sang in the Senior Choir, and was voted "Best Dressed" in the senior class. He was also featured in the . Taylor attended the , Knoxville, initially as a business major before developing a passion for . He learned and began working with deaf individuals before graduating with a degree in education in June 1966. While at the university, he participated in the (ROTC). Upon graduation, he was commissioned as a in the U.S. Army , marking the beginning of his military career; he later transitioned to .

Professional Career

Formative Years (1950s–1960s)

In the late , Larry Taylor established his early professional presence as the bassist for The Gamblers, an instrumental rock group formed in . The band, which included future member on piano and guitarists like , achieved a regional hit with their 1959 single "Moon Dawg!," an energetic track that captured the emerging sound and featured Taylor's driving bass lines. This recording, released on the World Pacific label, marked one of Taylor's first notable contributions to the music scene, where he honed his skills alongside musicians who would later influence the rock landscape. By 1961, Taylor had transitioned to session work, securing his first major recording credit as the for during a pivotal tour and studio period. Approached through a chance encounter at a club, the 19-year-old Taylor joined Lewis's backing band, providing rhythmic foundation for live performances and recordings that showcased Lewis's energy amid his post-scandal career resurgence. This role not only exposed Taylor to high-stakes professional musicianship but also solidified his reputation as a versatile studio player, building on his recent switch from guitar to in high school to meet the demands of live gigs. Taylor's session contributions extended to The Monkees starting in 1966, where he played bass on numerous tracks for their debut albums and singles through 1970, including the chart-topping "Last Train to Clarksville." As an uncredited "ghost" bassist, his steady grooves underpinned the band's pop-rock sound during their rapid rise to fame, supporting live tours and studio sessions that defined mid-1960s teen idol music. In 1967, Taylor joined the blues-rock band as their permanent bassist, infusing their boogie-inflected sound with his blues-rooted playing. This lineup debuted at the that June, delivering high-energy sets that helped propel the band to national prominence. Taylor remained with Canned Heat through their performance at the Music and Art Fair in August 1969, where the group played to a massive crowd, solidifying their status in the festival circuit.

Mid-Career Developments (1970s–1980s)

Following his foundational role in during the late 1960s, where he contributed to the band's breakthrough blues-rock sound, Larry Taylor departed the group in May 1970 alongside guitarist to join John Mayall's Bluesbreakers after Mayall relocated to . Taylor provided bass for the Bluesbreakers through much of the decade, serving his longest tenure with the band from 1970 to 1977 and appearing on key recordings that blended traditions with American influences during Mayall's U.S.-based phase. In 1972, Taylor made guest appearances with , contributing bass to their album Rock and Roll Forever and supporting the instrumental rock pioneers in a nod to his versatile session work amid the evolving rock scene. After concluding his Bluesbreakers commitment, he briefly joined the Sugarcane Harris Band—later reconfigured as the —collaborating with violinist Don "Sugarcane" Harris on fusion-tinged projects that highlighted Taylor's adaptability in experimental lineups. Taylor's mid-1970s shift deepened his immersion in when he joined The Hollywood Fats Band in 1974, founded by guitarist Mike "Hollywood Fats" Mann and pianist Al Blake, forming a tight ensemble dedicated to raw Chicago-style blues revival. The group evolved into the Hollywood Blue Flames for extensive touring, allowing Taylor to anchor high-energy live performances that preserved authentic blues grit amid the decade's rock dominance. By 1980, Taylor initiated a enduring partnership with , providing bass on the album and establishing a rhythmic foundation for Waits' gritty, jazz-infused storytelling that would span multiple projects. In 1987, Taylor staged an initial reunion with , rejoining core members for the recording of Reheated the following year and revitalizing the band's boogie blues legacy through renewed collaborations.

Later Engagements (1990s–2010s)

In the 1990s, Larry Taylor rejoined for a period spanning 1996 to 1997, contributing bass to their album Canned Heat Blues Band, which featured acoustic bass on several tracks including "" and "." This reunion highlighted Taylor's enduring connection to the band's blues-rock roots, as he performed alongside drummer Adolfo de la Parra and guitarist during a time of lineup flux for the group. Taylor's collaboration with , which began in the 1980s as a foundational element of Waits' evolving sound, continued extensively into the and , culminating in contributions to a total of 10 albums through 2011's . On (1992), (1999), (2002), Blood Money (2002), Real Gone (2004), and (2011), Taylor provided bass and occasional guitar, supporting Waits' experimental blend of , , and industrial elements. His steady, rootsy bass lines anchored tracks like "What's He Building?" from and "Chicago" from , enhancing the albums' gritty, narrative-driven aesthetic. In 2010, Taylor participated in another Canned Heat reunion, joining the Woodstock-era lineup with de la Parra and guitarist Harvey "The Snake" Mandel for extensive touring that lasted until 2014, including performances celebrating the band's legacy at festivals worldwide. This period reaffirmed Taylor's role in the group's core sound, drawing on their 1969 Woodstock set for renewed energy. Additionally, Taylor appeared in the 2013 DVD documentary Time Brings About a Change... A Floyd Dixon Celebration, providing bass alongside drummer Richard Innes for a tribute concert honoring pianist Floyd Dixon, featuring elder blues artists like Pinetop Perkins and Henry Gray. Taylor received recognition for his instrumental prowess with a nomination for the 2014 in the Instrumentalist–Bass category, alongside competitors like Bob Stroger and Patrick Rynn, underscoring his late-career impact in the community.

Personal Life

Family and Relationships

Larry L. Taylor was married twice. His first marriage was to Caywood, with whom he had two sons, Larry T. Hough and Grady T. Hough; the marriage ended in . In 1971, he married Toni B. Taylor (née ), with whom he remained for over 50 years. He was also survived by a sister, Barbara T. Lemley, and five grandchildren.

Health Challenges

No major health challenges were publicly reported for Larry L. Taylor during his later years. He died of natural causes at his home in , on January 28, 2024.

Death and Legacy

Death

Larry L. Taylor died from natural causes at his home in , on January 28, 2024, at the age of 81. He was survived by his wife of over 50 years, Toni B. Taylor; his sons from his first marriage, Larry T. Hough of , and Grady T. Hough of (with his wife Nancy); his sister, Barbara T. Lemley of Hixson, Tennessee (with her husband Glenn); and five grandchildren.

Legacy and Tributes

Taylor's legacy is defined by his extraordinary heroism in the , particularly the 1968 rescue mission that earned him the , the U.S. military's highest award for valor, presented by President on September 5, 2023. His actions saved the lives of four Rangers and exemplified selfless leadership, influencing tactics and inspiring veterans' advocacy for recognition of overlooked heroes. Following his death, Taylor received widespread tributes. The Congressional Medal of Honor Society announced his passing, honoring his service. He was laid to rest on February 7, 2024, at Chattanooga National Cemetery with military honors, including a 21-gun salute, an Army Apache helicopter flyover, and Echo Taps; a public processional drew community support. In 2024, the National Medal of Honor Heritage Center opened a dedicated exhibit on Taylor on June 18, commemorating the anniversary of his rescue. Additionally, in November 2024, a road at , , was named in his honor to recognize his contributions to the U.S. Army. Taylor's humility and commitment to veterans' causes continued to be celebrated, with memorial contributions directed to the heritage center's Larry Taylor Exhibit Fund.

Discography

With Canned Heat

Larry Taylor joined as bassist in 1967, providing the driving low-end foundation that helped define the band's signature blues-boogie sound during their formative years. His tenure from 1967 to 1970 saw him contribute to several key studio albums, including the self-titled (1967), where his bass lines anchored tracks like "Rollin' and Tumblin'" with a raw, shuffling rhythm; (1968), featuring prominent bass work on hits such as "On the Road Again"; (1969); (1969); and Future Blues (1970), the latter showcasing his interplay with guitarist in evolving the band's extended boogie jams. Additionally, Taylor appears on the The Canned Heat Cook Book (1969), a collection of early singles and tracks from 1967–1968 where he performed bass duties, highlighting the band's early blues-rock energy. Taylor's bass contributions extended to landmark live recordings that captured Canned Heat's energetic style at major festivals. At the Monterey Pop Festival in 1967, his bass tracks underpin the band's set, including "Rollin' and Tumblin'," emphasizing the group's improvisational roots in a performance later included in festival compilations. Similarly, during their performance on August 16, 1969, Taylor's bass drove songs like "" and "Woodstock Boogie," with the full set preserved on live releases such as Woodstock: Three Days of Peace & Music, reinforcing the band's evolution through his steady, groove-oriented playing. Following reunions in the late 1980s, Taylor returned to Canned Heat, contributing to later albums that revisited and updated their blues-boogie aesthetic. On Reheated (1988), he played bass, guitar, and provided vocals, co-producing tracks that blended classic boogie with contemporary production while maintaining the band's rhythmic drive. In 1997, Taylor appeared on acoustic bass for multiple tracks on Canned Heat Blues Band, delivering a stripped-down, rootsy sound that echoed the group's original style on selections like "Don't Deceive Me." During his involvement from 2010 until his death in 2019, including tours like the 2009 Heroes of anniversary outings that extended into the early , Taylor's bass work helped sustain Canned Heat's boogie evolution, focusing on live reinterpretations of their catalog with an emphasis on improvisational grooves.

Collaborations and Session Work

Taylor's session work began in the early , when he contributed bass to Jerry Lee Lewis's recordings around 1961, marking one of his earliest professional engagements as a teenager. He toured with Lewis during this period, gaining experience in high-energy performances. In the mid-1960s, Taylor became a key session bassist for , providing bass lines for their albums from 1966 to 1970. His contributions appear on their self-titled debut album (1966) and hits like "," as well as their second album, (1967), helping define the band's pop sound. By 1970, Taylor joined John Mayall's band, playing bass on the album USA Union, which featured a raw blues-rock style with violinist Don "Sugarcane" Harris. He remained with Mayall's Bluesbreakers through 1977, contributing to multiple releases including live and studio efforts that showcased his versatile upright and electric bass playing. Throughout the 1970s, Taylor's collaborations extended to other projects, such as guesting on The Ventures' Rock and Roll Forever (1972), where he supported the group's return to roots-oriented material alongside guitarist . He also recorded with violinist Sugarcane Harris on albums like Fiddler on the Rock (1972), blending jazz, rock, and elements. In the late 1970s, Taylor co-founded the Band with guitarist Mike "Hollywood Fats" Mann, contributing bass to their self-titled debut album (recorded 1979, released 1980), a gritty Chicago-style effort. Taylor's most enduring session partnership was with , spanning over three decades from 1980 to 2011 across at least 10 . He provided essential —often on upright for Waits's evocative storytelling—on key releases like (1983), which shifted Waits toward experimental rhythms, and (2011), his return to rootsy . Other notable contributions include (1985) and (1999), where Taylor's economical lines anchored Waits's gritty narratives. In his later years, Taylor appeared on the live album and DVD Time Brings About a Change... A Floyd Dixon Celebration (concert 2006, DVD audio released 2013), backing pianist Floyd Dixon alongside and in a tribute to piano traditions.

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