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Neil Murray

Neil Murray (born Philip Neil Murray; 27 August 1950) is a Scottish renowned for his contributions to and , particularly as a key member of the band during its formative years. Born in , , Murray initially trained on , , and drums before switching to at age 17, drawing influences from blues-rock pioneers like of and . He turned professional in 1973, starting with the jazz-rock band and later joining progressive rock outfits such as and Colosseum II. His breakthrough came in 1978 when he joined , co-founded by singer , where he played on seven albums from Snakebite (1978) to Slide It In (1984), helping shape the band's blues-infused sound during its rise to international prominence. Murray's versatility extended beyond Whitesnake; he collaborated with Irish guitarist Gary Moore on three albums—Corridors of Power (1982), Victims of the Future (1983), and the live Rocking Every Night in Japan (1983)—blending rock with jazz elements. In 1989, he joined Black Sabbath for their album Tyr (1990) and extensive touring, later returning for Forbidden (1995), and worked with drummer Cozy Powell on projects like Hammer and Phenomena. He also served as bassist for Queen guitarist Brian May's solo band from 1992 to 1994, contributing to the album Another World (1998) and over 130 live performances, including the long-running We Will Rock You musical in London from 2002 to 2014. Throughout his career, spanning more than five decades, Murray has recorded with artists like Peter Green and Michael Schenker, and as of 2025 continues to perform, including with Snakecharmer and solo engagements.

Early life and influences

Childhood and musical beginnings

Philip Neil Murray was born on 27 August 1950 in , . He grew up in the Scottish border town of Melrose before attending a in , , at the age of eleven, marking an early relocation south from during the . His family had an artistic and musical background, exposing him to a diverse range of sounds including like , folk traditions, and , which shaped his broad musical tastes from a young age. Murray's musical journey began in earnest during his teenage years. He started playing drums around the age of 12 in the mid-1960s, participating in and bands at school. By 1967, at age 17, he switched to after trying a friend's instrument, finding it suited his style better due to the band's need for a and his own growing interest in the low-end role. That year, he formed his first band, Slap Happy and the Dum-Dums, with school friends. Self-taught on bass through practice and influences, he learned the fundamentals by listening to records and experimenting, drawing from his earlier exposure to via family and school. In the late , after moving to in 1968 to study at the London College of Printing, Murray honed his skills in local school and community bands, performing in informal settings around the city. To support his passion and afford equipment like a homemade , he took early jobs, including factory work assembling desk toys, while dedicating time to daily practice. These formative experiences laid the groundwork for his transition into circles, eventually leading to his involvement with bands like .

Key inspirations and skill development

Neil Murray's foundational bass playing style was profoundly shaped by prominent blues and rock bassists during his formative years. Key influences included of , whose innovative and melodic approach to the instrument inspired Murray to explore beyond traditional rhythmic roles, as well as from and , and of , whose raw, driving tones encouraged a blues-rock edge to his sound. These figures drew from the boom of the , including bands like John Mayall's Bluesbreakers and , which exposed Murray to a gritty, expressive electric bass idiom that emphasized groove and improvisation. Murray's technical growth accelerated after picking up the at age 17, transitioning from earlier pursuits in classical , , and . He honed a fingerstyle through intensive daily practice, spending years from 17 to 23 playing along with a wide array of records spanning , , R&B, and pop, which built his versatility and precision. This methodical listening and replication fostered an interest in , where he admired players like of for their harmonic sophistication and creative freedom, pushing Murray to incorporate melodic lines and subtle dynamics into his playing rather than mere timekeeping. To emulate his idols, Murray engaged in early experimentation with bass guitars and amplification during his art college years. Starting with a converted guitar and a homemade , he progressed to customizing a by swapping pickups to achieve warmer, more resonant tones akin to those of , Bogert, and Fraser, laying the groundwork for his signature rock-infused sound. His immersion in elements, such as the complex arrangements of the , further refined this approach, emphasizing intricate lines that intertwined with ensemble textures—a skill he later applied in his debut professional outing with the fusion-oriented .

Career beginnings

Gilgamesh and progressive rock phase

In early 1973, Neil Murray joined the as shortly after meeting Alan Gowen at a party, marking his entry into the professional music scene within the milieu. The initial lineup featured Gowen on keyboards, guitarist Phil Lee, and drummer Mike Travis, with Murray providing a solid foundation for the group's experimental sound that blended with rock structures. Building on influences from his formative years, Murray contributed to the band's fusion style, emphasizing complex time signatures and spontaneous elements that defined their rehearsals and early sessions. Gilgamesh's activities during Murray's tenure focused on developing material through club performances in the London area and BBC radio sessions, culminating in a notable double-quartet concert in November 1973 alongside Hatfield and the North at venues in Leeds and London. This collaboration highlighted Murray's alignment with key Canterbury scene figures, including guitarist Phil Miller from Hatfield and the North, fostering connections within the region's interconnected jazz-rock community. Murray's bass work appears on the band's 1973 demo recordings, later included as the opening tracks on the 2000 compilation Arriving Twice, showcasing the group's intricate, fusion-oriented compositions before lineup changes occurred. Murray departed Gilgamesh in late 1973 to seek wider rock opportunities, joining the Jimi Hendrix-influenced band Junior Hanson for their 1974 album Magic Dragon. This shift allowed him to explore more straightforward rock formats while maintaining session work in fusion circles.

National Health and Colosseum II

In 1975, following his stint with the band Hammer, Neil Murray joined Colosseum II as bassist, recruited by keyboardist Don Airey alongside drummer Jon Hiseman and guitarist Gary Moore. The group, a progressive jazz-rock outfit, recorded their debut album Strange New Flesh in 1975, released in April 1976 on Bronze Records, where Murray's contributions featured intricate bass lines supporting the band's fusion of jazz complexity and rock energy. Tracks such as the title song highlighted the ensemble's high technical demands, blending Moore's aggressive guitar solos with Hiseman's dynamic drumming. Murray described the band as a "real challenge" due to the musicians' exceptional skill levels, emphasizing its powerful, rocky live performances that showcased progressive elements rooted in his earlier Gilgamesh experiences. However, label pressures led to his dismissal along with vocalist Mike Starrs in mid-1976. Later that year, in July 1976, Murray replaced bassist Mont Campbell in National Health, a Canterbury scene ensemble led by keyboardist Dave Stewart and featuring guitarist Phil Miller and drummer Pip Pyle. He contributed to the band's self-titled debut album, recorded in March 1977 and released in February 1978 on Visa Records, providing bass arrangements for tracks like "Elephants," which incorporated live intros from European tours and exemplified the group's intellectual, jazz-inflected progressive sound. During his tenure through December 1977, Murray toured extensively across Europe with the band, performing high-energy sets that fused delicate, written compositions—often challenging for him as a rock-oriented player—with collaborative improvisation. He noted the music's lack of blues influence and its reliance on Stewart's composed bass lines, marking a shift toward more ensemble-driven prog jazz compared to his prior soloist-focused work.

Whitesnake period

Joining the band and studio contributions

In late 1977, Neil Murray joined on the recommendation of guitarist , becoming a core member of the band's evolving lineup. Murray's debut recordings with the group were on the mini-album (1978) and the full-length (1978). His first full studio album was (1979), where he provided prominent bass lines that supported the band's blues-infused sound, notably crafting the driving riff in the track "." His contributions continued on (1980), including the rhythmic foundation for the hit single "," which helped propel the album to commercial success in the UK. He also played on the live album Live... in the Heart of the City (1980), capturing performances from the band's 1978-1979 tours, where his bass work added depth to the energetic renditions of tracks like "" and "Ain't No Love in the Heart of the City." For this recording, Murray utilized a modified Kramer 350B bass guitar, fitted with two P-Bass pickups and La Bella flatwound strings, amplified through a Coliseum 300W head paired with an Acoustic 408 cabinet featuring four 15-inch speakers, contributing to the album's raw, powerful tone. Murray's studio involvement extended to (1981) and Saints & Sinners (1982), where his melodic bass parts—drawing from his prior experience in bands like —enhanced the group's songwriting and arrangements. He further contributed to the US version of (1984), laying down bass tracks that aligned with the album's polished direction, and later to the self-titled (1987), before departing the band.

Live performances and band dynamics

Murray's tenure with Whitesnake from 1978 to 1986 was marked by extensive touring across , , and the , solidifying the band's reputation as a high-energy live act. The group headlined major festivals such as the at in 1983, where they performed to large crowds alongside acts like and , and supported the US release of (1984) with arena shows opening for and , drawing significant American audiences and boosting their commercial breakthrough. These tours, spanning albums like (1979) and (1980) through to (1984), often featured marathon sets emphasizing blues-rock grooves adapted for stadium-scale delivery. On stage, Murray's bass work formed a dynamic foundation, particularly in interplay with guitarist and drummer , who joined in 1982. Murray adapted his studio bass lines—originally rooted in and influences—to a more aggressive, high-energy style, locking into Marsden's riffing for extended solos and syncing with Paice's precise, Deep Purple-honed rhythms to drive songs like "Fool for Your Loving" and "Still of the Night." This collaboration created a tight, improvisational flow that energized performances, with Murray noting the band's early democratic spirit allowed such musical exchanges to thrive. The addition of drummer in 1980 further amplified the live synergy, as his powerful, Bonham-esque style—characterized by massive fills and confident grooves—complemented Murray's bass, providing a robust low-end propulsion that elevated the band's edge during tours supporting (1981) and beyond. Powell's forceful presence, however, sometimes overshadowed subtleties, yet Murray described their partnership as satisfying for its sheer drive, contributing to memorable high-octane shows like the 1985 festival. Band dynamics evolved amid frequent lineup shifts and growing tensions, particularly after joined as second guitarist in late 1983, injecting a heavier, more metallic tone that reshaped the sound for the US Slide It In tour and subsequent releases. Sykes' arrival, alongside Murray's return on , marked a pivot toward American , but it exacerbated internal frictions, including creative clashes and ego conflicts fueled by ' emphasis on David Coverdale's vision. These issues culminated in Murray's departure in early 1987, as unpaid wages and feelings of being sidelined in mixes and videos led to his exit, coinciding with Coverdale's announcement of a solo career trajectory that effectively paused the band. Despite such setbacks, the era's live energy, driven by Murray's reliable rhythm section contributions, left a lasting impact on Whitesnake's legacy as a touring powerhouse.

International and solo ventures

Vow Wow collaboration

Following his departure from Whitesnake in 1986, Neil Murray received an invitation from guitarist Kyoji Yamamoto to join the Japanese hard rock band Vow Wow in early 1987, after they had relocated to England and needed a new bassist following Kenji Sano's exit. Murray's hard rock foundation from Whitesnake proved valuable in adapting to the band's sound. He contributed basslines and co-wrote several tracks across their albums V (1987), Vibe (1988; released internationally as Helter Skelter in 1989), providing a solid rhythmic backbone that blended his precise style with the group's energetic arrangements. Murray adapted to Vow Wow's style, which incorporated elements of speed and melody, particularly in collaboration with vocalist Genki Hitomi, whose high-range delivery required tight, driving bass support to match the fast-paced guitar work. His arrangements emphasized precision and velocity, as heard in tracks like "Break Out" from , where his lines lock in with Toshihiro Niimi to propel the song's galloping rhythm. The band toured extensively in support of these releases, performing in , the (including a notable set at the 1987 Reading Festival), and parts of , fostering a cross-cultural exchange that Murray later described as enriching despite logistical challenges. Vow Wow disbanded in 1990 amid management and sponsorship disputes, with Murray departing earlier in 1989 to pursue other opportunities; he has retained positive reflections on the collaboration, highlighting the unique cultural insights gained from working with and the scene.

Other session work

Murray's session work extended to and projects, showcasing his versatility. From 1997 to 2001, Murray served as the for the , supporting the legendary founder's comeback with a lineup including and guitarist Nigel Watson; he appeared on their debut self-titled album in 1997 and the 1998 release The Robert Johnson Songbook, delivering -infused grooves on covers like "Traveling Riverside Blues" that emphasized Green's . Guest appearances further diversified Murray's portfolio in the late 1990s. He played bass on Iommi's 2000 solo debut album Iommi, adding depth to tracks such as "Gone" and "From Another World" amid a star-studded lineup of vocalists including Glenn Hughes and . This freelance approach, honed through earlier international stints like Vow Wow, enabled Murray to navigate genres from blues to , maintaining a steady presence in studio sessions without long-term band commitments.

Major collaborations

Black Sabbath tenure

Neil Murray joined Black Sabbath in April 1989 as their touring bassist for the Headless Cross album, stepping in after session musician Laurence Cottle's studio contributions and amid ongoing lineup shifts following Dave Spitz's earlier departure from the band. Drawing from his hard rock experience with Whitesnake, Murray adapted to the group's doom-laden sound, performing complex parts like the false harmonic intro in "When Death Calls" during extensive tours across America and Europe that year. His integration helped stabilize the rhythm section alongside drummer Cozy Powell, whom he had previously worked with, as the band navigated internal tensions and the pressures of a major label switch to I.R.S. Records. Murray's first studio album with Black Sabbath was Tyr (1990), where he provided the bass lines for all tracks, contributing to the album's Norse mythology-themed songs under producer and Powell's direction. The recording sessions emphasized heavy riffs and atmospheric keyboards by , but Murray later noted that the mix buried the bass, making it less prominent compared to classic Sabbath recordings with . The subsequent Tyr world tour, spanning 1990-1991, showcased the lineup's cohesion despite fan expectations for original members, though commercial success was hampered by competing Osbourne solo activities and alleged sabotage of promotion by Sharon Osbourne's camp. After a period of band flux—including the Dio-led era without Murray—he rejoined in late 1994 with Powell for the Forbidden sessions, marking his second stint amid continued instability. On Forbidden (1995), Murray's bass work supported vocalist Tony Martin's return and Iommi's guitar, though the production, influenced by trends, weakened the rhythm section's impact in Murray's view. The supporting tour covered the and in 1995 but was cut short, with the UK leg cancelled due to poor ticket sales and label issues; Murray departed during 1996 as rejoined for an Osbourne reunion, reflecting the era's challenges in sustaining the band's metal legacy.

Brian May Band and Queen-related projects

Neil Murray joined the Band as bassist in 1992, supporting the release of May's debut solo album Back to the Light through an extensive world tour that spanned 1992 to 1993. The lineup included drummer , guitarist , keyboardist , and backing vocalists, with Murray's contributions drawing on his session versatility from earlier work with . The tour encompassed over 130 live performances across , , , and other regions, highlighting Murray's role in delivering May's blend of and emotional ballads. Among these engagements were several Queen-related events, including participation in at on April 20, , where the band supported May's solo performances amid a star-studded lineup honoring the late frontman. Murray continued his association with May into the late 1990s, providing bass on key tracks of the 1998 Another World, such as "China Belle," "Slow Down," "One Rainy Wish," and "All the Way from ." He also toured with the band for the Another World promotion in 1998, featuring on and maintaining the core dynamic with Edney and Moses. In the early 2000s, Murray took on a prominent role in Queen's theatrical legacy as the for the West End production of , which premiered at the Dominion Theatre on May 14, 2002, and ran continuously until June 2014. Over this 12-year period, he performed in the show's orchestra for more than 4,600 nightly presentations, adapting to the demanding eight-shows-per-week schedule while interpreting 's catalog of harmonically intricate songs like "" and "." To prepare, Murray engaged in intensive rehearsals with drummer and keyboardist , focusing on the precise vocal harmonies and layered arrangements that define 's sound, which required a shift from his prior rock and metal experiences to a more theatrical precision. Murray returned for the limited 2023 revival of at the London Coliseum, running from June 2 to August 27 and marking a celebratory return after nearly a decade, where he again handled duties alongside familiar collaborators. This engagement underscored his enduring connection to May and Queen's projects, blending live rock energy with stage production demands.

Later career and recent activities

Post-2000 engagements

Following his earlier tenure with , Murray rejoined in 2002 for a world tour that included performances in and to mark the group's silver anniversary. In 2003, he collaborated with former members and in the project M3 Classic , releasing the live album Classic 'Snake Live Volume 1, which focused on early material from the band's catalog; continued performing until Marsden's death in 2021. He returned to in 2009 for a European tour, during which also worked on reissues and live recordings from past performances. Murray continued his involvement with , a group formed by ex- members including Marsden and Moody, through the early until around 2002. The band specialized in covers, particularly early and songs, and released the live album Here They Go Again in 2001, capturing performances that blended these influences with high-energy renditions. Related sessions from 2000 with & Friends, featuring Company of Snakes lineup elements, were later compiled and released as Live at in 2006 and in 2009, emphasizing blues-rock standards like "" and "." In addition to band commitments, Murray took on select guest roles, including bass contributions to Tony Iommi's solo Fused in 2005 and Michael Schenker's Temple of Rock in 2011. He also participated in guest appearances with groups like during recording sessions and performed with the Hungarian metal band in live settings during the mid-2000s. Murray shared his expertise through instructional clinics, such as a 2009 masterclass in alongside guitarist Phil Hilborne, where he demonstrated bass techniques rooted in rock and grooves, and a 2017 clinic in the UK West Midlands focused on practical playing advice. In 2011, he joined the band Snakecharmer, contributing to their self-titled debut (2013) and Second Skin (2015).) As he entered his later career, Murray shifted toward more selective touring and session work, citing the physical demands of extensive road schedules amid advancing age, while remaining open to targeted performances and educational opportunities that drew on his extensive experience, including his foundational role in Brian May's 1990s band projects.

Performances and legacy in 2020s

In the 2020s, Neil Murray has maintained a visible presence in the rock music community, receiving acclaim for his foundational role in blues-rock playing. At age 75, he continues to embody vitality through endorsements and reflections on his . Murray's legacy extends to inspiring contemporary bassists, with his groove-oriented approach—blending jazz-fusion elements and rock drive—influencing players who cite his work on albums like 's and Black Sabbath's Tyr as benchmarks for rhythmic innovation in heavy music. This influence is further materialized in equipment recreations, such as The Bass Centre's 2024 model, a signature recreation of his modified used extensively in and beyond, featuring a maple neck, P/ pickups, and coil selector for versatile tone that modern builders and performers seek to emulate. Recent interviews underscore Murray's career highs, including his pivotal contributions to high-profile collaborations, while emphasizing his adaptability across genres as a model for enduring musicianship.

Musical style and equipment

Bass technique and influences

Neil Murray is renowned for his melodic bass approach, which seamlessly blends blues-inspired walking lines with the propulsive drive of , providing both rhythmic foundation and harmonic interest in ensemble settings. This style is exemplified in Whitesnake's "," where his lines contribute a fluid, supportive that enhances the song's emotional arc without overpowering the vocals or guitars. His playing emphasizes groove and , often prioritizing interplay with the drummer to create a locked-in , as heard in collaborations with . Murray's technique evolved significantly from the intricate, jazz-fusion complexity of his early career to the more direct, powerful delivery suited to heavy rock. In bands like and during the mid-1970s, he navigated dense arrangements with precise, multifaceted lines that incorporated jazz-rock elements, blending edge and finesse in busy mixes. By the late 1970s with and later , his style shifted toward straightforward, song-serving bass parts—often melodic yet restrained—to accommodate structured rock compositions, reflecting an adaptability that allowed him to balance rhythmic competition with guitars and drums. This progression highlights his versatility across genres, from improvisation to arena-ready drive. Technically, Murray employs a hybrid of fingerstyle plucking and pick usage for tonal variety and attack, enabling him to deliver both subtle nuances and aggressive punch as needed. He has incorporated artificial harmonics into his toolkit since the early 1970s, predating widespread popularization by others, to add melodic flair in intros and solos, such as the opening of Black Sabbath's "When Death Calls." Murray's influences span blues-rock pioneers and jazz-fusion innovators, shaping his lifelong commitment to expressive bass lines. Early inspirations include of for musicality, of and for rock energy, and Clive Chaman's Motown-rooted style via , which informed his walking bass foundations. Later, 1970s jazz-rock groups like and broadened his palette, with standing out as a pivotal figure whose innovative tone and phrasing prompted Murray to emulate elements of that virtuosic sound. This admiration for Pastorius persists into his teaching work, where Murray mentors emerging players on blending technical precision with creative expression.

Preferred gear and endorsements

Throughout his career, Neil Murray has favored a selection of bass guitars that evolved with his musical demands, starting with classic Fender models in his formative years. His primary early instrument was a heavily modified 1968 Fender Precision Bass, acquired secondhand in 1975 and repainted black with a replacement maple neck from a 1968 Telecaster; this workhorse featured in recordings and performances with Colosseum II, National Health, early Whitesnake, Black Sabbath, the Peter Green Splinter Group, and the We Will Rock You musical in London from 2002 to 2014. During the peak Whitesnake era in the late 1970s and early 1980s, Murray switched to the 350B as his go-to bass, customizing it with two P-style pickups and La Bella Quarterwound strings for a punchy, defined tone on albums like Live... in the Heart of the City and live shows. In more recent decades, particularly the and , he has embraced Sandberg basses, adopting the California VM as his main live instrument since 2015 and a custom signature model tailored to his specifications for ongoing tours and sessions. For amplification, Murray's 1980s setup centered on Sunn Coliseum 300W heads driven into Acoustic 408 cabinets loaded with four 15-inch speakers, delivering the powerful, room-filling low end essential to Whitesnake's sound on stage and in the studio. In contemporary configurations as of 2019, he has used compact heads such as the Fusion 800 paired with Barefaced Super M Plus 2x10 cabinets, supporting lighter rigs for reduced physical strain during tours. Murray employs effects sparingly to preserve a direct, organic bass signal. Among his endorsements, Murray has partnered with The Bass Centre in the to release the P-Bass, a faithful recreation of his modified 1970s featuring an body, neck, and versatile pickup options for vintage-inspired playability; this model honors his enduring affinity for the instrument that defined much of his career. Post-2000, Murray adapted to lighter rigs emphasizing compact heads, smaller cabinets, and streamlined cabling to reduce physical strain during prolonged tours, allowing sustained performance without compromising tonal integrity.

Discography

Albums with primary bands

Neil Murray's tenure with Whitesnake marked a significant portion of his career, where he served as the primary from 1978 to 1987, contributing to the band's transition from blues-rock roots to prominence. His solid, groove-oriented playing underpinned the rhythm section alongside drummers like and . The albums he appeared on include: Live at (1978), (1978), (1978), (1979), (1980), Live... in the Heart of the City (1980), (1981), Saints & Sinners (1982), (1984), and (1987). During his two stints with in the late 1980s and mid-1990s, Murray provided bass support for the Tony Martin-led lineup, bringing a steady rock foundation to the band's sound amid lineup changes. He joined after the recording of Headless Cross but toured in support, and fully participated in studio sessions for subsequent releases. The albums featuring his bass work are Tyr (1990) and Forbidden (1995). As a key member of the from 1992 to 1998, Murray collaborated closely with the guitarist on solo projects, delivering punchy bass lines that complemented May's layered guitar arrangements. This period included both studio and live recordings, showcasing his adaptability in a post- context. Notable albums include Back to the Light (1992), Live at the (1994), and Another World (1998). Murray's involvement with Japanese hard rock band Vow Wow came in 1987, when he joined after their relocation to the , infusing their sound with his experienced rock bass style until departing for in 1989. The albums from this period are (1987), (1988), and (1989). Earlier in his career, Murray was part of the progressive jazz-rock fusion group Colosseum II from 1975 to 1976, where his bass work supported Gary Moore's guitar virtuosity on their debut album Strange New Flesh (1976). He then briefly joined in 1977-1978, contributing bass to their self-titled debut album (1978), blending improvisation with structured compositions. Murray co-founded Snakecharmer in 2011 with former members, contributing bass to their albums Snakecharmer (2013) and Second Skin (2017).)

Session and guest appearances

Neil Murray has made significant contributions as a session and guest on numerous recordings beyond his primary band commitments, spanning , , and theatrical projects. These appearances highlight his adaptability, from high-energy live captures to tribute-style compilations, often collaborating with rock legends. For the Michael Schenker Group, Murray performed bass duties on the live album The Michael Schenker Story Live (1997), recorded in Tokyo and featuring a lineup with drummer Simon Phillips and keyboardist Don Airey. The release captured Schenker's career-spanning setlist, emphasizing Murray's solid support in the hard rock context. Murray joined the Peter Green Splinter Group for their initial albums, playing bass on the self-titled debut (1997), The Robert Johnson Songbook (1998), and Soho Session (1999). These blues-oriented recordings revived Green's post-Fleetwood Mac sound, with Murray's rhythmic foundation complementing Green's guitar work and drummer Cozy Powell's grooves on the early tracks. On Tony Iommi's solo album Fused (2005), Murray handled all bass parts, collaborating with vocalist Glenn Hughes and supporting Iommi's riff-heavy compositions in a style echoing Black Sabbath's heavier moments. The album's production emphasized Murray's precise, driving lines across tracks like "Gone" and "Don't Drag the River." Murray also contributed bass guitar to the original London cast recording of the Queen musical We Will Rock You (2002), performing on the live-captured tracks from the Dominion Theatre. This theatrical project featured medleys of Queen's hits, with Murray's playing integral to the rock ensemble backing the cast. In more recent years, Murray appeared on blues-rock compilations, including contributions to M3's Rough & Ready (2005), where he reunited with former bandmates and for reinterpretations of classic material. These efforts underscore his enduring role in preserving blues-rock roots.

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    Original London Cast - We Will Rock You - Original London Cast Recording
    ### Summary