Having worked alongside some of the biggest names in music, including Prince, Jeff Beck and Beyoncé, Rhonda Smith has no shortage of bass guitars to choose from. But one stands apart from the rest – an instrument she originally borrowed and, as she puts it, “never gave back”.
“It wasn’t actually made for me,” says Smith. “The first one – my baby, Tequila Sunrise – was Gary Grainger’s personal bass. It was one of the first four-strings manufactured by PRS for the Gary Grainger Signature series.
“At the time, I went to Burbank because PRS had a showroom at Center Staging, and they didn’t have many of those basses around. They were custom-shop instruments, so you generally had to order one.
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“Gary was gracious enough to let me borrow his bass to try it, and they let me have it for the weekend. I fell in love with it. I got to the point where I wasn’t willing to let her go. I didn’t want to go back to any of my other basses. So, you know, I found a way!
“I’ve had other ones made since then, and they’re great. I have another four-string that’s white, which is a backup, and it’s beautiful. But it’s not the same.
“That’s one of the things I love about PRS. I own 26 or 27 bass guitars – everything from Fenders to MTDs, 6-strings, and acoustics. But this one bass has a sound that none of my other basses have.”
Now, that unmistakable bass tone has played a key role in shaping the sound of The Power of 3, Smith’s new supergroup with Orianthi and Cindy Blackman Santana.
“You know, all good things start with good friends and good music, and this project contains all of that. We’ve already put out two singles, and our self-titled album is coming out December 11. We’re having a great time.”
The project first began taking shape when Las Vegas Raiders owner Mark Davis encouraged Orianthi to assemble a Band of Gypsys-inspired power trio.
The Power of 3 is now gearing up to take its hard-hitting blend of guitar, bass and drums to audiences worldwide.
“A trio has always been powerful to me because you have to watch what you play and be conscious of what you’re playing, but it’s also nice to have that space. You have more space, but you also have more responsibility.”
How did you record in the studio?
We cut everything live – all three of us together – and did minimal overdubbing. That’s basically how we made the record. Orianthi was singing the leads at the same time, too, so everything was happening in focus. We’d just work things out until we were ready to lay down the basic tracks.
That’s kind of what we did, with the help of Eddie Kramer, who produced the record. He brought in a lot of vintage sounds, vintage equipment and vintage EQs, and all those wonderful things that are going on.
Was there a moment when you knew the chemistry was really working?
I think it was there from the very first song. The first song we wrote together was No Time for Love, and I think the second was Treat Me Like a Lady. It was pretty powerful from the start. We just knew it was right.
The album was recorded entirely in analog.
I think a lot of us have become used to the digital sound, especially with streaming. But old-school people know the difference. There’s just something about the sound. It’s thicker, deeper, and meaner. It’s becoming a bit of a rarity these days. We’re releasing the album on vinyl, too.
What can someone expect from the live experience?
Live, it’s powerful. I think it’s a one-of-a-kind thing to see. People follow by example, and I think we’re good examples for younger women.
There have always been female musicians, but I don’t think there are many groups like this, with the kind of experience we have in a trio and the power we have coming out and banging out rock ’n’ roll!
What else can you tell us about your studio rig?
I generally use Aguilar amps, and I had a pretty extensive pedalboard, with everything from wah and distortion to chorus. I don’t think I ever went direct – Eddie always wanted a live amp so he could get that feed.
What’s the best piece of advice you’ve ever received?
Prince was a great teacher. He was a hard teacher, but he believed in perfection in a world where perfection doesn’t always exist. His lessons about ownership and owning your music, understanding the business and respecting the music have always stuck with me. They’ve been invaluable.
What advice would you give to aspiring players looking to make their mark in the industry?
You need to know how to respect the music. For me, as a bass player, when I come into a group, respecting the music means learning the song, knowing my parts, being on time, being there and being open to change.
You’d think those things were simple, but sometimes they can be challenging for people. The number one thing is learning the parts. A lot of people just don’t do the work, but they show up anyway. And then you let the whole team down. It’s really about knowing your role.
Has The Power of 3 changed what you look for in a collaboration?
I wouldn’t say it’s changed what I want from a collaboration, but it’s definitely enhanced my ideas about what I’d like to do. We’re all super-positive about it and we love the record. We’re looking forward to the December release and to reaching people who maybe don’t know who we are or don’t know the music. It’s unique and very cool.
