Monday, January 28, 2013

Pete Best Interview: The Beatles Conspiracy?


By Ray Shasho

Over the years, there’s been speculation and even conspiracy theories to why original Beatles drummer Pete Best was fired by manager Brian Epstein. On August 16th, 1962, Best was permanently replaced by Rory Storm and the Hurricanes drummer Ritchie Starkey (Ringo Starr).

Some of the explanations for his dismissal we adhered to over the years were … He was too conventional to be a Beatle …Paul and George never liked him …He was anti-social, never hung-out with the other lads after gigs …Pete refused to sport the proposed mop-top haircut …Ringo was the better drummer …Pete was too good looking … Pete was too popular …Pure jealousy …Epstein felt threatened … and so on… and so on.

One thing is certainJohn, Paul and George kept completely silent and remained totally numb during and after his discharge from The Beatles. Since receiving those historic walking papers, the band had never made a legitimate effort to make amends, remain friends, or even consider Pete Best as an acquaintance.

In this interview Pete Best states … “I never spoke with any of them again after the dismissal. Played on the same bill as them on two or three occasions, but we didn't speak.”
BBC News reported that … Ringo Starr made an apology to the city of Liverpool for remarking that he missed nothing about his city, leaving many Merseyside residents very angry. A foliage sculpture of The Beatles at Liverpool South Parkway Station was beheaded by vandals three months after the remarks, with the sculptures of the other three Beatles left untouched.
Even today: Fellow Liverpool musicians continue to be puzzled over the firing of Pete Best. In a recent interview conducted with another British Invasion legend Billy J. Kramer, He states… “There’s never been an out and out answer … Me, as an onlooker, I saw… Lets here it one more time for John, George, Paul …and when Pete Best walked back on the stage at the end of the show… young girls just went crazy! It’s something that always baffled me.”
Was there another reason behind the firing of Pete Best?

Pete Best was born in Madras, India and brought up in Liverpool, England. In 1954, Pete’s mother Mona Best pawned all of her jewelry and bet the money on a racehorse. She bet on a 33-1 longshot named “Never Say Die.” She won the bet and used her winnings to purchase a house at 8 Haymans Green in Liverpool.
On August 29th, 1959 Mona Best opened The Casbah Coffee Club in the cellar of that home becoming Liverpool’s first rock ‘n’ roll venue. Mona “Mo” Best’s encouragement to promote local musicians helped shape and popularize the “Merseybeat,” the original sound of the British Invasion. The first gig at the infamous Casbah was ‘The Quarrymen’ featuring John Lennon, Paul McCartney, George Harrison and Ken Brown (The Les Stewart Quartet). The band (without a drummer) played a series of seven Saturday night engagements.
Ken Brown later formed The Blackjacks with Pete Best and ‘Chas’ Newby.

Beatles Era: In the 1960s, a tour of Hamburg, Germany was arranged by The Silver Beetles manager Alan Williams, and the band still desperately needed a drummer. The answer was Pete Best, who frequently played with his band The Blackjacks at his Mom’s Casbah Coffee Club. After The Blackjacks broke up, it was Paul McCartney who convinced Best to join the group and go to Hamburg. Best auditioned at Alan Williams Jacaranda Club and left for Hamburg the next day. Pete Best became a Silver Beetle on August 12th, 1960. The Silver Beetles changed their name to The Beatles on August17th.

During their first tour of Germany, The band played the Indra Club and the Kaiserkellar. The Beatles met photographer Astrid Kirchherr and Klaus Voormann that same year.
In 1961, NEMS (North End Music Stores) owner Brian Epstein approached the band with a management offer. He had been quite impressed with the group after hearing the release of “My Bonnie” (Polydor Records) recorded with rocker Tony Sheridan. Epstein had also visited the original ‘Cavern Club’ on several occasions to watch The Beatles perform live in front of a crowd. The Beatles first ‘Cavern Club’ gig was secured by Pete Best’s mom Mona.
Before taking over The Beatles, Epstein asked Alan Williams if there were any contractual ties between him and the band. There weren’t any, but Williams told Epstein … “Don’t touch them with a f***ing bargepole, they will let you down.”
Bassist Stuart Sutcliffe quit The Beatles on March 15th, 1961 to pursue a career as an artist. Sutcliffe died April 10th, 1962 of an aneurysm that was believed to be caused by a head injury from a brawl inside Lathom Hall in Liverpool.
In 1962, after becoming Liverpool’s #1 voted band, The Beatles revisited Hamburg to play ‘The Star Club.’ In Hamburg, new boss Brian Epstein announced to the group that they had achieved a recording contract with EMI. They met George Martin that year at Abbey Road Studios. The Beatles recorded the original version of, “Love Me Do” in June of 1962 with Pete Best on drums (available on The Beatles Anthology 1 compilation release).

Pete Best was fired from The Beatles on August 16th, 1962.

In 1964, “Love Me Do” became The Beatles first #1 U.S. Hit (On Vee-Jay Records) featuring their new drummer Ringo Starr. EMI (Capitol Records in the U.S. initially refused to release Beatles records).
Post Beatles Era: Pete Best was offered to play drums with several high profiled bands. Ringo Starr’s ex-group Rory Storm & The Hurricanes ironically asked Pete to replace Ritchie Starkey (Ringo) on drums. Then Brian Epstein contacted Best to shape The Merseybeats into another Beatles scenario. Pete Best rejected both offers.

Which brings up the point … If Pete Best was such a bad drummer, why did Brian Epstein want him to play drums and take charge of The Merseybeats? Epstein still had enough confidence in Pete by asking him to turn The Merseybeats into another Beatles Phenomena.

In 1963, Pete Best joined Lee Curtis & The All-Stars. The band landed a record deal with Decca. The All-Stars toured the UK and Germany and were awarded second place in the Merseybeat Poll, losing the number one spot to The Beatles, but ahead of Gerry and the Pacemakers and The Searchers. The band split from Curtis and eventually became ‘The Pete Best Four’ and ‘The Pete Best Combo.’ The band toured the U.S and Canada.

In 1968, Pete Best left the music business to concentrate on family life. He worked as a civil servant worker for the next twenty years. Depressed over The Beatles sustained fame and fortune, Best tried to commit suicide, but was miraculously talked out of it by his mother Mona and brother Rory.

The secrecy and avoidance surrounding Pete Best’s dismissal by The Beatles reminded me of another incident the same year that lead to a similar covert aftermath … the ‘Cuban Missile Crisis.’ (October 16-28, 1962).

The Pete Best Band: In 1988, after twenty years of turning down requests to perform in public, The Pete Best Band was formed. Pete continues to tour worldwide with his younger brother Roag sharing drumming duties. The band’s sound and appearance is a throwback to those exciting early days of The Beatles. Their setlist includes Beatles classics like … “Please Mr. Postman,” “P.S. I Love You,” “My Bonnie,” “Roll Over Beethoven,” “Till There Was You,” “I Saw Her Standing There,” “Twist and Shout” and “Kansas City” to name a few.
I’ve witnessed The Pete Best Band in concert and thought it was … Gratifying, authentic rock and roll at its finest.

In 2007, Pete Best was inducted into the All You Need Is Liverpool Music Hall of Fame as the debut Charter Member.
In 2008, The Pete Best Band released the album Haymans Green consisting of all new material. Best plays drums and co-wrote all the tracks. The album received rave reviews with a lineup that featured … Pete Best (drums), Roag Best (drums and percussions), Tony Flynn (guitar, vocals -played with Steppenwolf), Phil Melia (guitar, harmonica, vocals), and Paul Parry (guitar, piano, keyboards, vocals).

On July 25th, 2011 two streets in Liverpool were named Pete Best Drive and Casbah Close.
Pete and Kathy Best have been married for fifty years; they have two daughters and four grandchildren.
Pete Best has an incredible website that spotlights opportunities to visit or even play at the legendary Casbah Coffee Club. Visit Pete’s official website at www.petebest.com. The site also features some great merchandise and memorabilia.

I had the rare pleasure of chatting with Pete Best recently about life before and after The Beatles.
Here’s my interview with the original drummer of The Beatles/ Leader of The Pete Best Band/Drummer/Percussionist/Songwriter … PETE BEST.
Ray Shasho: Hello Pete, happy 2013!
Pete Best: “Oh thank you …same to you.”
Ray Shasho: I actually met you back in 2001 in Springfield, Virginia after your show.
Pete Best: “That’s going back a long ways, but I do remember the gig.”
Ray Shasho: You and the band certainly put on a great show. So what’s new these days in the life of Pete Best?
Pete Best: “Well, I’ve still got the band going which is touring all over the world as we have been doing for many-many years. But at the present moment, I’m into getting right into this technology … Facebook and everything, and have three things going at the present moment Ray, I’ve got my own website which is www.petebest.com and people can go on that site to see what the band is doing, what I’m doing, and all the updates. It’s full of all kinds of information and we just want people to go on and visit it. And of course the Facebook regime which is www.facebook.com/petebestofficial. I’ve also gone on to the Twitter as well so I can have a chat with the fans, and that is https://twitter.com/BeatlesPeteBest.”
“I’ve been promising myself that I’d keep everyone up-to-date and just enjoying the fact that it gives hundreds and thousands of people out there the opportunity to get in touch with me and have a chat, and keep up to date with what we’re doing and we love to talk about it with people.”
Ray Shasho: I’ve been on your website and it’s quite impressive. I noticed that you can actually book tours at the famous Casbah Coffee Club directly from the site.
Pete Best: “That’s right; The Casbah is opened to tours now, we’re open nearly 365 days a year and it’s by booking appointments only. The contact information is on the website and if people phone up and make an appointment then we’ll be more than glad to take them around and give them a history of The Casbah and the history of Merseybeat from the early years of The Beatles.”
Ray Shasho: Your mom was quite a visionary and entrepreneur wasn’t she?
Pete Best: “Let’s be quite honest about it Ray, she bet all her money on a horse, “Never Say Die” which we didn’t know about, and that horse had jockey Lester Piggott on it, who won the Epsom Derby in 1954, and from that she bought Haymans Green and then transferred a cellar into what the world knows now as The Casbah Club. But that dream that she had, what you are talking about being an entrepreneur, she always wanted to bring music to the kids of Liverpool and that’s exactly what she did, and that’s exactly what history portrays now.”
“The first band to play there were The Quarrymen, who went on to become The Beatles. Every band in Liverpool played there …Gerry and the Pacemakers, Kingsize Taylor, The Searchers, The Swinging Blue Jeans … my goodness me; you can go on and on and on. But the good thing about it Ray, was that she was also very interested in bringing the younger bands up, the bands who were just starting to make a break through. She had a simple rule and it worked great … when you tried out at The Casbah, if the crowd liked you, you got another booking. If they didn’t she’d say, “Go away my lads and practice, the door isn’t closed, come back and have another go.” So many bands did that and it put them on the road to stardom …which is absolutely fantastic.”
Ray Shasho: The music business could certainly use someone like your mom today.
Pete Best: “She’s still here Ray, even though she’s gone. God bless her, she went in 1988. She’s still with us … The Casbah is her, it’s her epitaph. She was the visionary; we’re just carrying on the job for her.”
Ray Shasho: Before The Quarrymen, John Lennon had a band called The Black Jacks. Did John change the name of that band because your band was also called The Black Jacks?
Pete Best: “Yea, my band was The Black Jacks, but I think John stopped calling himself The Black Jacks before I came along. So there were no problems involving name discussions or anything else like that. By that time they turned into The Moondogs, The Silver Beetles, and all the other aliases that he had before we actually were The Beatles with an ‘a,’ so there was no problem on that particular side.”
Ray Shasho: On the day bassist Stuart Sutcliffe was attacked, was it you and John Lennon who actually ran to his rescue?
Pete Best: “Yea, what you actually saw portrayed in films like Birth of The Beatles and Backbeat, they used Litherland Town Hall as to where the assault took place, and it wasn’t, it was a venue called Lathom Hall and Stu was beaten up inside the club. What we used to call in those days …‘Teddy Boys,’ Stuart was the smallest in the band and they picked on him for some unknown reason when we were backstage. John and I heard about it and we dashed out, got stuck into it, and sorted it out. John broke his finger and that was something he carried from that particular fight. But we managed to get Stu out without too much damage to him and we just went on and did the show. But the funny thing was Ray, after that, we were accepted by the ‘Teddy Boys,’ as we use to call them in those days. And at that particular location they turned around and said, “Hang on just a moment, it’s the Beatles, they can handle themselves.” So there was a little bit of respect. But that just puts the record straight in regard to location, and yes, john and I were actually there to help him.”
Ray Shasho: Were you the closest with John than anyone else in the band?
Pete Best: “Oh yea, without doubt. I mean everyone had their associations, but I would say I was closest to John in the band and I hope he felt the same as well. We spent a lot of time together. In Germany, we were the ones getting into trouble, we were the ones starting fights, we were the ones trying to rub sailors … that was the mischief we got up to. But then when we came back to Liverpool he was always at my house. The Casbah was always open and after we played, we came back and raided the coffee machine and sandwiches and everything, then came up to the living room and sat there till the early hours in the morning, chatting and playing music. So it was very much home away from home.”
Ray Shasho: Pete, what was John Lennon like back in those early days?
Pete Best: “He was one of those guys that the more you got to know him, the more you saw that there was more to this guy than what the public actually sees. If I could use an example to that Ray, when I was in Germany, we used to spend a lot of time drinking, and when I was talking with him, I started to realize, okay behind this tough guy façade that he had, there was a very tender and loving person and a brilliant family man. And when you put those two entities together … that to me is the whole John Lennon.”
“In a way he became a visionary and a world leader, which was something I expected and it didn’t come as a surprise when he started leading peace movements and writing fantastic songs about bringing peace to the world. It just seemed logical for him to do it.”
“But he was a real diamond and over the years just kept getting polished …and unfortunately a stupid death because of that idiot Chapman, which robbed the world of a great leader and robbed me of a great friend.”
Ray Shasho: What were you doing when you heard the news about John’s death?
Pete Best: “I was actually getting ready for work in Liverpool. By the time it started to come on the radio over here, it was around seven or eight o’clock in the morning and just getting ready for work and my wife Kathy said, “Pete you’d better come and listen to this …John’s been murdered.” At that particular moment Ray, John Lennon was the last person I thought of. And I said John who? Kathy said, “John, who you used to play with in the band.” So I suddenly realized after hearing the broadcast that it was John Lennon and I was mortified, just absolutely horrified. Of course the media went wild all over the world. They tried to get in touch with me to do radio, television and press interviews, and I just basically said no. I said look, I know what you’re trying to do, but I want to pay my respects to my old friend in the best way I can. So I kept me feelings to myself and stayed quiet.”
Ray Shasho: John’s death affected so many of us, I remember gathering on the steps of the Lincoln Memorial in Washington D.C. for a vigil a few days after hearing the news. I’m still in a state of denial that George is also not with us any longer.
Pete Best: “They will always be the icons of the music business, generations are still discovering them, year after year, century after century, people will always be discovering their music, which is absolutely fantastic. It probably won’t happen with anyone else.”
“But through all that recognition, and all that fame, there’s been a lot of tragedy within that band as well. Stu Sutcliffe died when he’s only 21; Brian Epstein dies at 32, John being murdered by that idiot Chapman, George dies a horrible death with cancer … so there has been a lot of tragedy within the band. I think success sometimes comes with tragedy. It seems to be an evolution and the way things go.”
Ray Shasho: It seems to me that you’ve enjoyed a more stable and healthier lifestyle than your old bandmates… Kathy and you have been married for 50 years and you have a beautiful family … you’ve done alright!
Pete Best: “I had an early learning curve. It comes from a stable background and a tough backbone. People knock you down and you get back up and try twice as hard. What happened to me at an early age probably hadn’t happened to anyone else, the fact that I was dismissed from The Beatles and then they became icons of the music industry. But that mishap …and I think that was the best way to explain it, woke me up, it made me more streetwise, and I realized that there was more to life than being a rock ‘n’ roll star.”
“But I had family around me and a stable character. I realized it’s not about what happened yesterday, it’s very much about today and tomorrow. I’ve lived my life and been recognized my own sweet way and made my contribution to the music industry. My bands been recognized for their own contribution. At the end of it all, I’m a great family man. I’ve been married to a great Liverpool girl, Kathy; this year makes fifty years, and we’ve got two beautiful daughters and four wonderful grandchildren.”
Ray Shasho: Pete, after you were dismissed from The Beatles, did Brian Epstein actually offer to put you in a different band?
Pete Best: “Yea, it’s a funny thing, not initially. In 1962, when I was called in, he basically turned around and said they want you out and Ringo was in, and it was already prearranged that Ringo was going to be in the band. But a couple of weeks afterwards, I had offers from different bands and was still thinking it over, then got a call from Brian Epstein and he basically said, “Pete, I’d like to see you in the office again, I’ve got something I want to check over with you.” I thought …oh my goodness me; maybe there’s been a change of heart, maybe they’ll bring me back again.”
“So, when I got down there, he was very cordial and polite like he normally was. Then he said, “I’m not bringing you back into the band, just in case you’ve got that on your mind.” So I thought that clears that particular subject (laughing). Then he said, “But I’m really interested in a young band called The Merseybeats which I want you to become the drummer in and take charge of them. I want you to turn them into a second Beatles so I can manage them. I said, Brian, it’s absolutely wonderful that you’ve got that much faith in me, but once you’ve been with the number one horse, and number one stable, it’s going to be very difficult for me to work with you again. I thanked him very much for the offer and went away. Then I joined Lee Curtis & the All-Stars, which was another up and coming band in Liverpool at that time. And I took them to the number two position behind The Beatles in The Mersey Beat Poll.”
Do you have any regrets for not taking Brian’s offer to work with The Merseybeats?
Pete Best: “No, not really, when I talked with Billy Kinsley of The Merseybeats many years afterwards, I think they were disappointed that I didn’t come onboard, because he’s always admired me as a musician when I was a drummer. But as I explained to him, I said Billy, at that particular moment in time; it didn’t seem like the right thing to do, it wouldn’t have set easy with me. He said, “Pete, I accept that, it would have been nice for you to be part of the team.” It wasn’t meant to be, but they went on to be a fantastic band anyway. Billy is still one of the best musicians in Liverpool.”
Ray Shasho: Pete, how many times, if any, did you actually talk with John, Paul or Ringo after your dismissal from the band?
Pete Best: “I never spoke with any of them again after the dismissal. Played on the same bill as them on two or three occasions, but we didn't speak.”
Ray Shasho: Here’s a crazy thought … I covered Ringo Starr’s show not long ago when he played in Clearwater. If Ringo asked you to join his All Starr Band for one of his tours would you accept?
Pete Best: (All laughing)
“That’s a question and a half Ray isn’t it? Now, I’ll turn it around on you… If I ever see Ringo, maybe I’ll ask him if he’d play second drums in my band. (All Laughing)”
Ray Shasho: I think either scenario would be great!
Pete Best: “I always say …if it’s meant to happen, it’s going to happen anyway.”
Ray Shasho: Pete, thank you so much for being on the call today, for all the great music, and for keeping The Casbah legacy alive.
Pete Best: Thanks Ray, I had a really good time. Cheers!

Visit the Pete Best official website at www.petebest.com
Pete Best on Facebook www.facebook.com/petebestofficial
Pete Best on Twitter https://twitter.com/BeatlesPeteBest
Very Special thanks to Roag Best for arranging this interview.

Coming up … An interview with British Invasion legend Billy J. Kramer …We will discuss, why isn’t Brian Epstein in The Rock and Roll Hall of Fame?

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com -Support Ray so he can continue to bring you quality classic rock music reporting. 


~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

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Tuesday, January 22, 2013

Dr. John interview: Musically he’s been in the Right Place at the Right Time

 


By Ray Shasho

Malcolm John “Mac” Rebennack, Jr. is not exactly a household name, but Dr. John, the Nite Tripper, or Dr. John Creaux, are the distinguished stage names for a man whose musical genius inspired generations of musicians and enthusiasts.
The New Orleans native, whose roots can be traced back to the early 1800s, is a National Treasure. Dr. John’s musical ingenuity began at an early age. Mac’s dad owned an appliance store and record shop, and was quickly introduced to virtuoso jazz musicians like Louis Armstrong and King Oliver. His father’s connections enabled him to grasp the musical knowledge needed while rubbing elbows with elite performers. Mac’s impertinence became evident after meeting Professor Longhair in his early teens, and after receiving his dad’s blessing to launch a career as a professional musician.

As a teenager, Mac Rebennack, Jr. was hired by Johnny Vincent in a producer role for Ace Records. In the late 1950s he became an A/R (Artists and Repertoire) man for ACE as well as RON and RIC Records. He began playing the guitar and performed on recordings with such legendary artists as Professor Longhair, Joe Tex, Art Neville, and Frankie Ford. He switched to bass guitar and finally to keyboards after his left ring finger was injured by gunshot after defending bandmate Ronnie Barron.

Dr. John moved to Los Angeles in the early 1960s and quickly became a sought-out session musician performing on recordings by Van Morrison, Sonny and Cher, Aretha Franklin, Canned Heat, Frank Zappa and the Mothers of Invention and on The Rolling Stones Exile on Main St. album to name just a few.
He also launched a solo career during that period and developed the infamous stage presence of Dr. John, the Nite Tripper. A virtuoso pianist/keyboardist embellished in Voodoo charms and Regalia, inspired by an eclectic blend of funk, rhythm & blues, voodoo mysticism, psychedelic rock and Creole roots. His debut album Gris-gris released on Atco records in 1968 received instant rave reviews.

Dr. John was revered by his peers for his innovating eccentricity and musical dillettante. His albums, The Sun, Moon and Herbs (1971) and In the Right Place (1973) featured guest appearances by Eric Clapton, Mick Jagger, members of The Meters, Allen Toussaint, and David Spinozza. In the Right Place spawned Dr. John’s signature anthem tune, “Right Place Wrong Time” (#9 on Billboard’s Hot 100 singles) and “Such a Night” (#42 Billboard Hit). In the Right Place became the biggest selling album in his career.

Throughout the 70s, Dr. John added musical flavors of blues, New Orleans R&B, and Tin Pan Alley standards to his expanding musical repertoire, which already featured elements of funk, zydeco, jazz, rock and roll and boogie-woogie. Dr. John toured extensively and performed on classic rock television programs such as Don Kirshner’s Rock Concert and ABC’s In Concert. He also performed at the farewell concert for The Band (1976) and was featured in the movie The Last Waltz in 1979. The movie was filmed by director Martin Scorsese.
Besides a flourishing solo-career, Dr. John provided his incredible musical talents to various acclaimed tracks and recordings by Carly Simon and James Taylor, Neil Diamond, Maria Muldaur, Levon Helm, Van Morrison, Rickie Lee Jones, and Willy DeVille to name just a few. Dr. John also entered into a musical collaboration with American blues singer/songwriter Doc Promus, a successful relationship that endured for over twenty years. Promus was inducted into the Rock and Roll Hall of Fame in 1992.

Dr. John also provided the vocals for the Popeyes Chicken & Biscuits jingle … “Luv dat chicken from Popeyes.” He’s also written several other jingles for TV commercials including Levi’s blue jeans.

In 1989, he toured with Ringo Starr & His All Starr Band.

Big Easy legend Dr. John celebrated Grammy Award wins in 1989, 1992, 1996 and 2000, and had received six other nominations over the years. He was also awarded the distinguished Académie Charles Cros 57ème Palmarès award in France, marking the first time since the 70’s that a North American artist had received the award.
After Hurricane Katrina, Dr. John instantly contributed his efforts in relief-fund raising concerts and recordings. In 2008, he released the album, City That Care Forgot earning him yet another Grammy Award for Best Contemporary Blues Album –The fifth of his illustrious music career.

In 2008, he was inducted into the Louisiana Music Hall of Fame.

Dr. John was inducted into the Rock and Roll Hall of Fame in 2011 by singer/songwriter/actor John Legend.
He’s recorded over thirty solo albums and has collaborated on countless recordings with legendary artists and musicians.

In 2012, Dr. John released the critically-acclaimed album Locked Down. The album was rated #15 on Rolling Stone’s list of top 50 albums for 2012. The album spotlights guitarist/vocalist Dan Auerbach of The Black Keys. The release was recorded in Nashville and produced by Auerbach.

At 72, Dr. John continues to be one of the hardest working entertainers in show business, performing at numerous outdoor music festivals and sold-out concert halls around the globe. He performed most recently in St. Pete, Florida at the Sunshine Blues Festival at Vinoy Park.

I had the rare opportunity and great pleasure recently to chat with the legendary man from ...
“noo-AW-lyenz,” Dr. John, about his remarkable music career and substantiating the fact that he was actually in the Right Place at the Right Time.

Here’s my interview with (5) time Grammy Award winner, Rock and Roll Hall of Famer, New Orleans Iconic legend, Singer/Songwriter/Multi-instrumentalist/Trailblazer … DR. JOHN.
Ray Shasho: Dr. John, happy 2013!
Dr. John: “Have a blessed 2013.”
Ray Shasho: Did you ring in the New Year in New Orleans?
Dr. John: “Yea, I was in New Orleans but I am doing lots of other things right now … just living in a world of change, a world of machines … like I’m talking to you on a machine called a cell phone.”
(All laughing)
Ray Shasho: You and I share something in common … My dad owned an electronics/appliances/camera store when I was young, and your father owned a record store/appliance store in your days as a youth.
Dr. John: “He had a record store and an appliance store, and he went bankrupt with the appliance store when I was very young, but was successful with the record store.”
Ray Shasho: My dad dragged me to work at his store every Saturday since I was six years old … did your dad make you work at his store too?
Dr. John: “My father was always trying to get me to follow his path, and I think it was when I was in ninth grade, he’d tell me, “kid, I know you’re smarter than this, my advice to you is go take the job on the road with this old guy, you’ll probably learn something.” But he was a great father and a real special person.”
Ray Shasho: I really admire your career because you worked both sides of the music business fence … as a producer and A&R man for several record companies, and of course as a musician and songwriter.
Dr. John: “Yes, I did both. As a teenager I was working for Johnny Vincent at Ace Records, and then worked for Joe Ruffino at Ric and Ron Records. One of the records that I produced for the Professor was one of my favorites, “Mardi Gras in New Orleans” and that was his big hit, for years and years every time they’d do Mardi Gras they’d play it.”
“And I had the great pleasure of playing on “Big Chief” with Wardell Quezerque who passed away recently; you know …some people will always stick out.”
Ray Shasho: “Big Chief” was another huge hit for Professor Longhair …and he was a huge influence on your career.
Dr. John: “He did things his way and there wasn’t anybody that was doing it the way he did it, just all kinds of different rhythms that wasn’t connected directly to New Orleans, but still played everything else with the flavor and that was kind of his thing.”
Ray Shasho: Professor Longhair was also heavily influenced by Cuban rhythms.
Dr. John: “I’ve been having a great time doing some stuff with Telmary Diaz from Cuba, Arturo Sandoval from Cuba … and all these people were really special to me.”
Ray Shasho: Did you ever meet Celia Cruz back in the day?
Dr. John: “Oh yea, she used to come by this one gig that Joe Glaser use to book us in when he was managing Dizzy Gillespie and Louis Armstrong. Miles Davis used to come by there, the Cruz used to come by there, there were just so many people that would come by that club and it was just so hard to get to meet everyone.”
Ray Shasho: Before she met my dad, my mom dated the manager of the Tropicana Club in Cuba. She was a model and very beautiful. She’d pick up the performers at the airport before they’d played at the club … artists like Bing Crosby and Nat King Cole.
Dr. John: “My mom was also beautiful; she was supposed to be the original Jane in the original Tarzan movie. They asked her to put her foot in the water and there was an alligator in there, and she wouldn’t put her foot in the water. All Laughing”
Ray Shasho: You originally played guitar and because of a rather scary incident started playing keyboards.
Dr. John: “I started out with the guitar and was a studio musician back in the 50s, and then got shot in my finger. Then James Booker showed me how to play the organ for a gig and stayed doing that mostly, but I still play a little guitar now.”
Ray Shasho: I’m a fan of Joe Tex and you’ve got a history with Joe?
Dr. John: “I not only did some recording sessions with Joe, but I had also gone on the road with Joe.”
Ray Shasho: I grew up around D.C. …Marvin Gaye country …. I just love R&B music.
Dr. John: “I worked with Marvin Gaye too. Didn’t do any recording sessions with him but I played in his band, and did one tour with him, and I loved when he played the drums. He played better than his own drummer. Stevie Wonder was a good drummer; Marvin Gaye was a killer drummer. I think he just played during the soundchecks and he’d have another guy sing his parts while he played the drums. He just wanted to play the drums and have some fun.”
Ray Shasho: I chatted with one of your buddies Maria Muldaur a few months ago.
Dr. John: “Yea, we did a lot of stuff earlier in her career and then we did some more stuff later … she’s always been cool.”
Ray Shasho: I first saw you perform “Right Place Wrong Time” on Don Kirshner’s Rock Concert. When you strutted your way into the audience, were you throwing confetti at everyone?
Dr. John: “It was glitter.”
Ray Shasho: So what was the inspiration behind writing that timeless classic?
Dr. John: “It was sort of the story of my life; I always seemed to be in the right place at the wrong time. (All laughing)”
Ray Shasho: Based upon your music career … I truly believe you were in the right place at the right time.
Otis Rush entitled one of his albums Right Place, Wrong Time, was that just a coincidence?
Dr. John: “I was actually doing a gig with him and he went off on me and said, “Hey, you stole a song from me.” And I said … I don’t think so, I wrote a song and never even heard your record. I think he was just trying to be funny.”
Ray Shasho: Otis Rush’s album was released in 1976 and your song was released in 1973. I believe Otis may have borrowed your title for his album.
Here’s a question I ask everyone that I interview … If you had a ‘Field of Dreams’ wish to play or collaborate with anyway past or present, who would that be?
Dr. John: “There are so many people I’m friends with. But I’ll throw someone out there … Stevie Wonder. It’s funny, knowing Stevie; it’s probably never going to happen. The way I look at it is like it’s not a great possibility for happening because he’s always out there on the road … just like I am and always doing something …like I am.”
“But music is something sacred and when people are open to it they can gain some knowledge and gain some wisdom.”
Ray Shasho: Your latest album Locked Down is with The Black Keys guitarist and singer Dan Auerbach. The album received rave reviews. Auerbach also produced the album.
Dr. John: “Yea, I liked Dan from The Black Keys, he’s a good kid. I think he’s going to win producer of the year this year too. I’m really praying for him to win that because I think he’s a damn good producer. I had my little granddaughter turn me on to them and it was kind of cool… not long after she turns me on to them, all of a sudden, Dan get’s in touch with me.”
Ray Shasho: When I chatted with Kim Wilson of The Fabulous Thunderbirds awhile back, he told me he really wanted to play with The Black Keys.
Dr. John: “Hey, I could dig that because they’re real special guys.”
Ray Shasho: Dr. John, thank you for all the incredible music you’ve given to all of us over the years and continue to bring us. You’re a legend man.
Dr. John: “Thank you Ray, you have a blessed day and a blessed 2013.”

Dr. John official website www.nitetripper.com
Purchase Dr. John’s latest album Locked Down featuring Dan Auerbach of The Black Keys at amazon.com
Very special thanks to Pearl Evidente Feldman of The Gorfaine/Schwartz Agency for arranging this interview.
Coming up next …an interview with original Beatles drummer Pete Best!

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com
Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com -Support Ray so he can continue to bring you quality classic rock music reporting. 


~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

© Copyright rayshasho.com. All Rights Reserved

Monday, January 14, 2013

KANSAS: American Progressive Rock Heroes


By Ray Shasho

Interview with drummer Phil Ehart

There are many words that can be used in describing the musical attributes for classic rock music legends KANSAS. Words like profound, intricate, symphonic, epic, spiritual, progressive, and hard rock. The bands classification may even be considered a genre within a genre, or some sort of a musical enigma.

Kansas original drummer and co-founder Phil Ehart compares the group’s eclectic musical elements to their longtime disciples The Allman Brothers Band … but I’ll simply classify KANSAS as "American Progressive Rock Heroes."

While observing and studying the bands intricate orchestral rock reverberations during my high school youth, and sharing the passion of music with a clique of rock aficionados, there had always been a genuine certainty that each member of Kansas had graduated from the most esteemed colleges with the highest of music degrees. It made perfect sense at the time, how else could anyone create or mastermind such elaborate musical masterpieces.
After all those years, the answer was finally revealed to me in this interview with drummer Phil Ehart. The members of Kansas did not attend fancy colleges or music schools and hadn’t obtained the highest of music degrees. In fact, they couldn’t even read or write music. This has to be the most fascinating component for so many legendary music artists, and it never ceases to amaze me. The fact that musicians become legendary based on pure genius and naturally gifted talents. And the list is staggering …The Beatles, Elvis, Jimi Hendrix, Stevie Wonder, Lionel Ritchie, and Ronnie Montrose to name just a very few. In fact … most rock musicians only played by ear.

In 1970, Topeka natives, Phil Ehart, Dave Hope, and Kerry Livgren formed the inception of what would become one of the greatest American classic rock bands of all-time.

Legendary American publisher, producer, talent manager, and songwriter Don Kirshner (The Monkees, The Archies) dubbed as “The Man with the Golden Ear,” signed the group to their first recording contract as Kansas in 1973.

Their self-titled album Kansas was released in 1974 establishing the bands symphonic rock arrangements while fundamentally spotlighting elements of classical violin. The band toured extensively and instantly developed a huge cult following. The original line-up featured Phil Ehart (drums and percussions), Dave Hope (bass guitar), Kerry Livgren (guitars, keyboards, vocals), Robby Steinhardt (violin, vocals), Steve Walsh (keyboards, lead vocals), and Rich Williams (guitars).
Kansas followed-up with the releases Song for America (1975) and Masque (1975). The track “Song for America” is a complex musical arrangement overwhelmed with epic delights. “Icarus” (Borne on Wings of Steel) and “The Pinnacle” from the Masque album are inspirational masterpieces, and although not yet a commercial success, Kansas had already established itself as one of the most exceptional rock acts in the U.S.
Their fourth album Leftoverture (#5 Billboard album charts) released in 1976 spawned their first commercially successful Top 40 hit, “Carry On Wayward Son” (Certified Gold #11 on pop singles Billboard chart). The album also produced one of Kerry Livgren’s most inspirational penned compositions, “The Wall.” It was apparent that Livgren’s proficient lyrics, the bands virtuoso music abilities, along with commercial success and headlining status had introduced Kansas to superstar caliber.

Kansas continued its momentum by releasing Point of Know Return producing the Top 40 hits, “Point of Know Return”(#4 Billboard Hit) and “Dust in The Wind” (Certified Gold #6 Billboard Hit). Leftoverture and Point of Know Return each sold over four million copies.
The bands sold-out concert performances were captured in a double-live album entitled, Two for the Show in 1978. Their sixth studio album Monolith generated yet another Top 40 single entitled, “People of the South Wind” which referred to the meaning of the ‘Kaza’ (Kaw) Native American people, after whom the state and band are named.

The album Audio-Visions generated, “Hold On” (#40 Billboard Hit) the last Top 40 hit by the original line-up. Kansas had personal changes throughout the 80s. Kerry Livgren’s lyrics became notably Christian influenced. Steve Walsh left the band and was replaced with John Elefante.
Vinyl Confessions (1982) was their first album with Elefante as lead singer. The following release Drastic Measures generated the single, “Fight Fire with Fire” (#41 Billboard charts).

Livgren and Hope both left Kansas in1982.

In 1985, Steve Walsh returned to Kansas but without Livgren, Hope and Steinhardt. Bassist Billy Greer (Streets) and guitarist Steve Morse (Dixie Dregs) were also added. Their tenth studio album Power spawned, “All I Wanted” (#19 Hit) the last Kansas single to reach the Billboard Top 40.
In 1990, a German promoter was able to reunite all original members of Kansas except for Robby Steinhardt for a European tour. At the end of the tour Dave Hope left but Kerry Livgren remained until 1991.

Their fourteenth studio album, Somewhere To Elsewhere released in 2000 marked a reunion of the original Kansas line-up. Billy Greer was also featured on the album. Kerry Livgren composed all the album’s tracks.
In 2000, Kansas supported Yes during the Masterworks Tour.

Kansas continues to be a strong concert headliner. Based out of Atlanta, Georgia nowadays, the band has always been a crowd pleaser in the Tampa Bay area. The band headlined Fun ‘N Sun Fest at Coachman Park in Clearwater to a huge gathering in 2011.
Kansas recently played the Rock Legends Cruise II event earlier this month and will be headlining a show at Ruth Eckerd Hall in Clearwater on Saturday, January 19th with a rock symphony orchestra. It will mark the first time that Kansas has played at Ruth Eckerd Hall. You can purchase tickets at www.rutheckerdhall.com or call (727) 791-7400 for more information.

The current KANSAS line-up is …Phil Ehart (drums), Rich Williams (guitars), Steve Walsh (vocals, keyboards), Billy Greer (bass), and David Ragsdale (violin).
Phil Ehart and Rich Williams have appeared on every album that Kansas has released. Phil also manages Kansas.
I had the pleasure of speaking with Kansas co-founder and original drummer Phil Ehart recently about the bands spectacular musical journey.

Here’s my interview with drummer/percussionist/band manager/ and co-founder of classic rock band KansasPHIL EHART.
Ray Shasho: Happy 2013 Phil!
Phil Ehart: “Yea, same to you, we’re lucky to be here.”
Ray Shasho: Where did you celebrate ringing in the New Year?
Phil Ehart: “The band was actually home this New Years. We’re based in Atlanta now and not always home obviously, so it was good to be with the family and everything … not bad at all.”
Ray Shasho: How many children do you have Phil?
Phil Ehart: “I’ve got two kids … a fifteen year old boy and a ten year old daughter. I married a woman quite a bit younger than I and we had our little girl when I was fifty two years old.”
Ray Shasho: So you’re not even close to becoming a grandfather yet?
Phil Ehart: “Hey, I’ll be lucky if I can make it that far. (All Laughing)
Ray Shasho: You look like you take good care of yourself, I wouldn’t worry. How were your children first introduced to Kansas music?
Phil Ehart: “Probably just coming to see me play …let’s go see dad work. And then some of their friend’s parents know what I do for a living, so mainly from just coming to see dad going to work. It’s not like we have classic rock music playing around our house all the time. They both kind of have the thing that they do. Of course they hear me down the hall practicing my drums and I also manage the band, so they hear me on the phone all the time and conducting all the band business. But they’re just good kids and not in awe by any means about what I do; they just say dad plays drums … well, that’s cool. So let’s get back to texting somebody. (All laughing) But it’s just so low-keyed at our house, and what I do is something we don’t make a big deal about and so they keep it all in prospective.”
Ray Shasho: Kansas is about ready to set sail on the Rock Legends II Cruise.
Phil Ehart: “I’ve never done one of those so we’re kind of anxious to see what that’s like. Everybody I talk to says it’s really cool. We know so many of the bands, having all come up together, so it’ll be fun to see them, and yea, we’re looking forward to it.”
Ray Shasho: Kansas will be performing at Ruth Eckerd Hall in Clearwater, Florida on Saturday January 19th with a symphony orchestra. How does the band decide which venues will get that full experience of performing with an orchestra?
Phil Ehart: “It’s the people at Ruth Eckerd Hall that invited us. We’ve been trying to get into Ruth Eckerd for many-many years. It’s a place that everybody has played except us. When this offer came we jumped on it. The routing just never worked out in past years, but it worked out really well this time. We’ve done a lot of symphony shows … I think probably over fifty of them, so when the offer came in we jumped all over it. We’ve wanted to play the venue and love that part of Florida, and that orchestra comes very highly recommended …we’re really looking forward to it.”
Ray Shasho: How difficult is it synchronizing the band with a symphony orchestra?
Phil Ehart: “Instead of having five people onstage, all of a sudden you’ve got fifty five people onstage. Larry Baird is our conductor and has done all of our symphony dates with us. So he’s very cognizant of our music and of course has done all the charts. He knows what he’s conducting and has worked with that orchestra before. The orchestra rehearses with Larry for a couple of hours and then we come in and rehearse with them for about four or five songs. So by the time we start, we’re pretty locked in and everything is worked out before we do the shows.”
Ray Shasho: I’ve always found it fascinating … no matter where Kansas plays their music… at an outdoor festival or in a symphony hall …the band always sounds like a full-blown orchestra, even without an orchestra… it’s truly amazing.
Phil Ehart: “(All Laughing) Well, yea we do …with the keyboards and the violin, we’re able to kind of create a lot of orchestral textures with our music and that’s on purpose. That’s why moving into the orchestral thing, it wasn’t really hard for us. For a lot of bands it just doesn’t work. It may work for them on a few songs, but for us it works on every song. And that’s because we’ve always had that sort of orchestral sound to our band anyway. So the orchestra just enhances that. It’s pretty cool to be up there and hearing that, it gets you pretty fired up.”
Ray Shasho: When I was in high school, we always thought that everyone in Kansas had music degrees from the most elite colleges and studied theory … is that true?
Phil Ehart: “No, none of us had. Other than David Ragsdale on the violin, you kind of have to have that training to play the instrument, but the rest of us are all self-taught. None of us went to music school or had any formal training at all. We didn’t read or write music. I think you’ll find the majority of my peers are not trained and are self-taught.”
“But we’re very proud of our music and take it very seriously. We work very hard, it takes a lot of practice, and we’ve certainly not mastered the instruments by any means. You’ve got to stay up on it, practice, and work hard.”
Ray Shasho: You left Topeka and went to live in England for awhile… what was that experience like?
Phil Ehart: “I had pretty much played with everybody in Topeka, not that I was better than anybody in Topeka, I just thought I was going to go play somewhere else and see what was outside of Topeka. I guess I could have saved myself a bunch of money and gone to Kansas City. (All Laughing) But I went there because I thought I’d like to go there. So I spent a number of months there and played with some folks and then my visa ran out … so I came back. Not that I was anything special and England was waiting for me with open arms by any means. I had played in Topeka for a number of years …lets go somewhere else and see what’s there. It was a good experience, but it just made me realize that I liked playing with the guys, so I came back, started calling people, and eventually it turned into Kansas.”
Ray Shasho: We’re all glad you came back Phil.
I’ve seen a lot of great drummers in my time … and I consider you one of those great drummers. I know it’s sort of rare to witness a Phil Ehart drum solo … I’ve seen you solo and would love to see more of them.
Phil Ehart “(Laughing) I don’t know about that. I appreciate the guys letting me have a drum solo but it’s just one of those things, I like playing songs a lot more than I do soloing. A lot of Kansas songs are just freakin’ drum solos anyway. There are so many different parts and sections that you have to go through and play them well and it’s almost like playing a drum solo. But for me, I just like playing with the band.”
Ray Shasho: When I talked with many of the older drummers and asked them who influenced you into playing the instrument, many say DJ Fontana (Elvis’ drummer), and many of the younger drummers would say John Bonham. Who influenced you in becoming a drummer?
Phil Ehart: “Easily, the guy who influenced me the most is Ian Paice of Deep Purple. That guy and the band, Deep Purple in general was just always my favorite. They were intricate but they also rocked. But, they were very good and are still very good at what they do. And Ian Paice was definitely my biggest influence without a doubt.”
Ray Shasho: In an earlier interview that you did, you compared the logistics of Kansas to the Allman Brothers Band, and I’d never thought that way before, but now I understand where you’re coming from. Many people think of The Allman Brothers as just a southern rock band, but their music is eclectic and complex.
Phil Ehart: “Oh yea, those guys were very complicated, a lot of different time signatures for a blues band. Great melodies and sound, great players … The Allman Brothers really influenced our band.”
Ray Shasho: Phil, Is there a particular album or song that is a favorite of yours?
Phil Ehart: “People ask me that sometimes and I say if you had to buy only one album that sort of covered where we were at a particular time, it probably would be Leftoverture. Even though it doesn’t have “Dust in The Wind.” That and Point of Know Return …those two albums were really us at our peak. But I like a lot of our time periods and when you’ve been around going on forty years, we’ve played a lot of stuff. We’ve got a lot of material and I like most of it.”
Ray Shasho: Congratulations on forty years … that’s incredible!
Phil Ehart: “Thanks … we signed our recording contract in 1973.”
Ray Shasho: My favorite Phil Ehart drumming piece is the “Song for America” track. And like you said earlier, it’s almost like you’re doing a drum solo throughout the track anyway.
Phil Ehart: “That’s definitely a full drum workout.”
Ray Shasho: Another tune I enjoy from the Song for America album is a song that you co-wrote called “Lonely Street,” which is a hard rockin’ blues number. What was the inspiration behind, “Lonely Street”?
Phil Ehart: “Actually four of us wrote it … I came up with the time signature beat. We sort of wrote that as a four piece. We were in the rehearsal hall and I was just messing with the beat and Steve came up with some stuff and we went from there. But that’s one attribute that we have … we can sound many different ways.”
Ray Shasho: People will usually interpret lyrics in their own way … but Kerry Livgren’s lyrics always seemed to generate a spiritual message since the very beginning.
Phil Ehart: “Kerry’s lyrics were always meant to mean to you, what they mean to you. However you hear them, however you experience them, whatever they say to you … that’s what he intended. It’s for you to have your own interpretation.”
Ray Shasho: Every once in awhile Kerry will still contribute to the band, correct?
Phil Ehart: “Every once in awhile he will, yes, he’s doing great.”
Ray Shasho: Is he still a Christian artist as well?
Phil Ehart: “Not so much anymore … here and there, yea.”
Ray Shasho: Phil, here’s a question that I ask everyone when I conduct an interview …If you had a ‘Field of Dreams’ wish to play or collaborate with anyway past or present, who would that be?
Phil Ehart: “I guess because it’s such a stretch and will never happen, one guy I really admired is Robert Fripp from King Crimson. He’s one of those guys that is just an incredible talent, guitar player, always wrote the coolest stuff, and is in all the great bands. Fripp is just such a reclusive type of a guy, and I know some guys who have played with him, but he’s just a talent that I’ve respected for such a long time, and has never veered from what he’s wanted to do and what he’s believed in, so a lot of respect in that.”
Ray Shasho: I love it when rock stars sort of humble themselves when talking about their own rock heroes. When I talked with Jon Anderson from YES, he told me that he was really nervous when he met George Harrison and didn’t know what to say to him.
Phil Ehart: “I remember one time we opened for The Rolling Stones and it was 90,000 people at Cleveland stadium. It was us and The Stones and Mick Jagger walked in our dressing room to see how we were doing and we all just looked at him. He said, “How’s everything going?” And there was complete silence … we all just looked at him. Then he said, “Is everything okay?” Silence again … we were all just dumbstruck. He must have thought we were just complete idiots. Mick just caught us off guard, we were just absolutely stunned … but he was a really nice guy.”
Ray Shasho: I was a big fan of Don Kirshner. I think the music industry is missing those types of innovators.
Phil Ehart: “You Tube has kind of killed innovation. I’m not saying it’s a bad thing, but you don’t have to prove yourself anymore because you can just put something on You Tube and millions and millions of people can see it and come and see you play, or not come and see you play. You Tube has a lot of pluses but also has a few minuses. What record companies will tell you now is get a video made, get on You Tube and rack up the views. When you’re up to one hundred thousand views or half a million or whatever, come and see us. And so that’s what the record companies do, they want you to build your own type of following so they won’t have to mess with it. A lot of young kids have discovered us thanks to You Tube. Like I said, it’s got a lot of pluses and a few minuses.”
“But Don Kirshner was really the first one to do rock bands on TV with Rock Concert. That was kind of the first You Tube you might say because that’s where a lot of people saw bands on Rock Concert, and we were on there six times. We actually got to do six songs I should say. But we were very fortunate to have him come along in our career.”
“I thought it was odd that Don had The Monkees and The Archies and then had us …just very weird. Don totally left us alone, he was supportive, wrote the checks to get us recorded …he did want a single really bad. He’d say, “Guys, we’re going on the fourth album now, but I really need to get something on Hit radio now.” There was plenty of stuff on FM. So when, “Wayward Son” came along we really made his day. And for all of us, it really helped a lot. But Don just loved and supported us, and we loved him, and it was a great thing.”
Ray Shasho: Phil, you are an advocate for Autism?
Phil Ehart: “My son has Autism, so I kind of live it. It’s the kind of thing that’s in my life, and it’s an epidemic spreading across the world, and it’s something that any chance I can do to help make people aware, than I do that. Yes, I’m definitely an advocate. But he’s doing well, he’s fifteen and a great kid, loved very much, and we just take it day by day.”
Ray Shasho: How’s Autism research coming along?
Phil Ehart: “They have some hypothesis and ideas but as of this moment nobody knows what causes Autism and 75% of the cases are boys. Young parents who want to have kids are terrified. In California they have 15 to 16 kids a day diagnosed with Autism … its epidemic and very scary.”
Ray Shasho: Phil, what’s next for Kansas?
Phil Ehart: “Our plan right now is to make it through our fortieth anniversary this year. So we’re going to go out and celebrate that and tour it and we’ve got some irons in the fire, but we want to enjoy our fortieth year as a band and that’s what we’re going to do.”
Ray Shasho: Phil, we’ll see you and the rest of Kansas on Saturday, January 19th for the bands very first appearance at Ruth Eckerd Hall, and with a symphony orchestra. Thank you so much for being on the call today, especially on a Saturday and for all the inspirational music Kansas has given to us over the years.
Phil Ehart: “Thanks Ray and we really appreciate the interview, see you in Clearwater.”

KANSAS will be headlining a show at Ruth Eckerd Hall in Clearwater on Saturday, January 19th with a rock symphony orchestra. It will mark the first time that Kansas has played at Ruth Eckerd Hall. You can purchase tickets at www.rutheckerdhall.com or call (727) 791-7400 for more information.

KANSAS official website www.kansasband.com
Very special thanks to Chipster PR & Consulting Inc. and J.R. Rees

Coming upDr. John (The Night Tripper) and Pete Best (Original drummer for The Beatles)

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com -Support Ray so he can continue to bring you quality classic rock music reporting. 


~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

© Copyright rayshasho.com. All Rights Reserved