Biography
Average White Band (often abbreviated AWB) is a Scottish funk and soul group formed in London in 1972 by bassist/vocalist Alan Gorrie and saxophonist Malcolm “Molly” Duncan, drawing together a circle of Scottish musicians who had first played together in the 1960s club scene around Dundee and Perth.[1][2][4] The classic early‑70s lineup solidified with guitarist/vocalist Owen “Onnie” McIntyre, saxophonist/keyboardist Roger Ball, drummer Robbie McIntosh, and guitarist/bassist/vocalist Hamish Stuart, all of whom had cut their teeth backing visiting American soul artists and exploring the jazzier side of R&B in projects like the Blue Workshop, the Scots of St. James, Brian Auger’s Oblivion Express, Forever More, and Dream Police.[1][2] After regrouping in London, they began jamming together and, inspired by a quip from a listener—“too much for the average white man”—they adopted the self‑deprecating name Average White Band.[1][2][3]
Their breakthrough came in 1973 supporting Eric Clapton at his comeback concert, which led Clapton’s tour manager Bruce McCaskill to take them on, move them to the United States, and secure a deal with Atlantic Records.[1][2][3] Recorded in Los Angeles with producer Arif Mardin, their second album AWB (1974), known as “The White Album,” hit No. 1 on the US charts and produced the Grammy‑nominated instrumental hit “Pick Up the Pieces,” firmly establishing them as one of the premier funk and R&B bands of the decade.[1][2][6] Through the mid‑to‑late 1970s they released a string of influential albums—Cut the Cake, Soul Searching, Person to Person, Warmer Communications, Feel No Fret, and the collaborative Benny & Us with Ben E. King—scoring R&B and pop hits such as “Cut the Cake,” “Queen of My Soul,” and later the disco‑era anthem “Let’s Go Round Again.”[1][2] Although commercial fortunes waned in the early 1980s and the original lineup dissolved, various configurations of AWB, anchored by Gorrie and McIntyre, continued to record (Aftershock, Soul Tattoo, Face to Face) and tour internationally, preserving their tight horn arrangements, sophisticated harmonies, and deep-pocket grooves that have made them a staple for soul, funk, and acid‑jazz audiences.[1][2][4][6]
Musically, Average White Band fused the rhythmic drive of James Brown and the Meters with jazz‑inflected horn writing and a distinctly Scottish, working‑class sensibility, absorbing ideas from American R&B, jazz‑fusion, and West Coast soul they encountered while touring and recording in Los Angeles.[1][2][5] Their precise ensemble playing, melodic bass lines, and sax‑driven riffs created a sound both technically sharp and dance‑floor friendly, leading to enduring respect from Black R&B audiences in the 1970s and beyond, including sold‑out arena tours and collaborations with US soul royalty.[1][5][6] AWB’s recordings have been sampled extensively by hip‑hop, R&B, and pop producers, ensuring that their grooves remain part of the musical vocabulary for subsequent generations, and their status as one of the few predominantly white bands to be fully embraced within 1970s funk and soul circles has given them a singular legacy in the genre’s history.[2][5][6][7]
Fun Facts
- The band’s name came from a listener’s remark that their sound was “too much for the average white man,” a line that stuck and, with a bit of self‑deprecating humor, became Average White Band.[1][2][3]
- AWB’s big break arrived when they opened Eric Clapton’s 1973 comeback concert; Clapton’s tour manager Bruce McCaskill was so impressed that he became their manager and personally financed their push into the US market.[2][3]
- Their signature instrumental “Pick Up the Pieces” was a surprise smash, helping the album AWB reach No. 1 in the United States and earning the group a Grammy nomination, despite being largely an instrumental track from a Scottish band in a predominantly American R&B field.[1][2][6]
- In 1977 AWB released Benny & Us, a full collaborative album with soul legend Ben E. King, an unusual move for a funk band that effectively cast them as the backing group for one of their own vocal heroes.[1][2]
Members
- Hamish Stuart - electric guitar, lead vocals (from 1972 until 1982)
- Steve Ferrone - drums (drum set) (from 1974 until 1982)
- Alex Ligertwood - lead vocals (from 1989 until 1996)
- Fred Vigdor - keyboard, saxophone (from 1989)
- Adam Deitch - drums (drum set) (from 1998 until 2001)
- Klyde Jones - bass guitar, electric guitar, keyboard (from 2002 until 2011)
- Robbie McIntosh - drums (drum set), original (until 1974-09-23)
- Roger Ball - keyboard, original, saxophone (until 1982)
- Molly Duncan - original, tenor saxophone (until 1982)
- Alan Gorrie - electric bass guitar, original
- Owen McIntyre - guitar, original
- John Wilson
Original Members
- Fred Vigdor - keyboard, saxophone
Musical Connections
Mentors/Influences
- American soul and R&B artists (e.g., Ben E. King, Garnet Mimms) - Members honed their craft backing touring American soul singers on the European circuit and absorbing authentic R&B performance practice and repertoire. (Backed Ben E. King and Garnet Mimms with The Senate and related touring bands before forming AWB; later recorded Benny & Us with King.) [Late 1960s–early 1970s (pre‑AWB touring years) and 1977 for Benny & Us.[1][2]]
- Brian Auger & the Oblivion Express - Jazz‑rock and soul‑jazz band where future AWB drummer Robbie McIntosh and guitarist Jim Mullen played, shaping AWB’s jazz‑inflected funk approach. (Touring and recordings with Brian Auger’s Oblivion Express prior to AWB’s formation.) [Around 1970–1972, directly before AWB coalesced.[1]]
- Arif Mardin - Legendary Atlantic Records producer who guided AWB’s sound on their breakthrough US albums, influencing their arrangements and studio approach. (Produced AWB (1974) and subsequent Atlantic releases, including the sessions that yielded “Pick Up the Pieces.”) [Mid‑1970s, especially 1974–1976.[1][2]]
Key Collaborators
- Ben E. King - Soul legend and former Drifters frontman who partnered with AWB on a full album and shared lead vocal duties. (Co‑billed album Benny & Us (1977), featuring AWB as the band and King on lead vocals.) [Mid‑to‑late 1970s, particularly 1977.[1][2]]
- Eric Clapton / Bruce McCaskill - AWB supported Clapton at his 1973 comeback concert; Clapton’s tour manager Bruce McCaskill became AWB’s manager and key advocate in the US. (Eric Clapton’s 1973 comeback concert where AWB opened; McCaskill subsequently secured their Atlantic deal and US promotion.) [1973–mid‑1970s during AWB’s rise.[2][3]]
- David Foster - Producer who helped steer AWB’s sound into a smoother, more contemporary direction on their Arista era debut. (Produced the album Shine (1980), featuring “For You, For Love” and “Let’s Go Round Again.”) [Around 1980 during AWB’s transition to Arista.[1][2]]
- Alex Ligertwood - Scottish vocalist (also known from Santana and the Jeff Beck Group) who joined AWB during a later phase, replacing Hamish Stuart as lead singer on new recordings. (Featured on the album Aftershock (1989), sharing lead vocal duties.) [Late 1980s, particularly around the 1989 Aftershock sessions.[2]]
- Eliot Lewis - Multi‑instrumentalist and songwriter who joined the band, co‑writing material and touring with AWB before later working with Hall & Oates. (Co‑wrote songs with Alan Gorrie and appeared on Aftershock and later touring lineups.) [Late 1980s–early 2000s (joined by 1989, departed 2002). [2]]
Artists Influenced
- Hip‑hop and R&B producers and artists (various) - AWB’s tight funk grooves—especially “Pick Up the Pieces” and other 1970s tracks—have been widely sampled, making their sound a building block for later hip‑hop, R&B, and pop productions. (Sampling of tracks from AWB, Cut the Cake, and other 1970s albums in numerous hip‑hop and R&B songs (exact titles vary by artist).) [Late 1980s onward as sampling culture grew in hip‑hop and R&B.[2][5][6]]
- Acid jazz and neo‑soul bands - Their blend of horn‑driven funk, jazz harmony, and soulful vocals helped shape the template for later British and international acid‑jazz and neo‑soul groups. (Influence heard in horn arranging, rhythm‑section feel, and repertoire choices in later genre scenes rather than in single direct collaborations.) [1990s–2000s scenes that revived 1970s funk and soul aesthetics.[5][6]]
- Pop artists covering AWB songs (e.g., Louise) - British pop singer Louise reworked AWB’s disco‑era hit “Let’s Go Round Again,” reflecting their continued presence in mainstream pop repertoire. (Louise’s late‑1990s cover of “Let’s Go Round Again,” originally a 1980 AWB hit.) [Late 1990s cover era referencing AWB’s 1980 original.[2]]
Connection Network
External Links
Tags: #2008-universal-fire-victim, #british, #classic-pop-and-rock
References
Heard on WWOZ
AVERAGE WHITE BAND has been played 1 time on WWOZ 90.7 FM, New Orleans' jazz and heritage station.
| Date | Time | Title | Show | Spotify |
|---|---|---|---|---|
| Jan 8, 2026 | 14:15 | CUT THE CAKEfrom CUT THE CAKE | Bluesw/ DJ Giant |