Alannah Myles was born in Toronto, Canada listening to FM radio
stations that introduced her to an international compilation of music. She was
raised in the city of Toronto where she studied to become a graphic artist,
splitting time on her family’s ranch in Buckhorn, Ontario and spent her early
years competing as an equestrian on the Ontario A Circuit competing in Canada’s
prestigious Royal Winter Fair prior to deciding that she would make music her
calling. You may click on the link below to visit the family lodge.
Alannah appeared as an actor in TV commercials, modeled,
styled wardrobe for local celebrities, worked as a makeup artist and consultant
to pay for her early demo tapes in attempts to secure a record deal for her
team. Though she was born to a privileged family, she chose to
remain independent. After a decade of paying dues; performing
concert venues, drinking establishments, nightclubs, coffee houses and hotel
bars she spent five long years recording her debut album released by Atlantic
Records (Warner Music Group).
Alannah was and will always be married to her music.
The ‘Alannah Myles’ first self titled album released in Canada in
the spring of 1989 produced four Top 40 hits, “Love Is”, “Black Velvet”, “Lover
of Mine”, and “Still Got This Thing”. Released internationally in 1990,
Atlantic records finally hit pay dirt with her number one international smash,
“Black Velvet”, winning a Grammy award for best female rock performance, along
with several Canadian Juno Awards, a Diamond award for sales in excess of one
million in Canada – the only artist who still retains this status for a debut
record. After it’s first year of release Black Velvet received the ASCAP award
for over one million radio plays and the ASCAP ‘Millionaire Award’ in 2005 for
over 5 million radio plays.
SOCAN in Canada awarded the songs, “Black Velvet”
and “Lover Of Mine” each with an award for over 100,000 plays in Canada in 2005
with her #1 hit ‘Song Instead Of A Kiss” to follow.
Her follow-up multi-platinum album, Rockinghorse (1992) received a
Grammy nomination for the title track ‘Rockinghorse’ and three Canadian
Juno Awards. Prior to her third, 1995 ‘A Lan Nah’ album she signed
with manager, Miles Copeland after attending his annual songwriting retreats in
France. After the sale of over eight million records she concluded
her alliance with Atlantic Records and in 1997 Ark 21 Records released her
fourth record Arrival (1997), which saw the top 40, hit Bad 4 You.
Atlantic Records cemented Alannah’s release from her 7- 8
album deal with a parting gift, ‘The Very Best Of Alannah Myles (1999)
compilation released on WMC and internationally on Ark 21/EMI, re-released as
‘Myles & More’ (2000) on Ark21/Universal Music Group containing hits from
all four albums and is scheduled for termination.
Funds from an out of court settlement with a
national Canadian publication afforded Alannah the luxury of spending the time
required to record, executive produce and co-write 9 of the 11 tracks
for ‘Black Velvet’ leased to an indie label in Canada which has since
2013 been terminated. The album includes a contemporary remake of her classic
hit, co-produced with Torontonian Mike Borkosky and Veronica Ferraro from
France, mixed by renown producer Terry Brown.
The lease for Alannah’s independently owned 2009 CD, ‘Black
Velvet’ was terminated on Sept 1, 2013, repackaged, retitled ’85bpm’ with added
tracks including an original re-record of Black Velvet. Returned master
recordings of her 1997 ‘A Rival’ CD are now distributed by tunecore.com
re-released to all online digital stores and remixed in celebration of her 25th
Anniversary.
Expect to hear more music and news for her 28th Anniversary season
of 2018.
HeRE ARE A FEW OF Alannah’s
INFAMOUS QUOTES …
“Justice
is never blind… She just takes your precious time”.
“A
good song lives on til well after we’re gone. It has the power to inspire others
and move people’s hearts without their even being fully aware.”
“One
Hit Wonder… Yeah, one only needs to get it right once.
“I
challenge anyone (including me) to better Black Velvet!”
“God
put me on this planet to accomplish a certain amount of things.
And don’t forget to purchase a copy of my book
entitled Check the Gs -the true story of an eclectic American family and their
Wacky family business … or the second edition entitled … Wacky Shenanigans on F
Street- ‘Proud to be Politically Incorrect in Washington DC’ ... available now
at amazon.com. You’ll live it!!!
Ray Walker dropped out of school
in 1955, moved to Centerville, Tennessee, where he helped to build a radio
station, WHLP, worked with the local Church, and, became the youngest school
principal in the history of Tennessee. He came back to college in 1956 and
graduated in June 1957, with a BA Degree in Speech, Music, Bible, and,
Education; worked for Werthan Bag Company during the Summer. By that time Ray
and wife Marilyn's third child was on the way.
Ray continued working for the local Church and, in the Fall began teaching
school in Davidson County Schools, where he was Assistant Principal, Coach, and
commanded a split seventh and eighth grade class. It was April 1958 now, and
through a business call to David Lipscomb College, Ray was put in touch with the
Jordanaires by his former Choral Director. Gordon Stoker had called there, just
prior to Ray's call, to see if the Music Department knew of a bass singer who
might fit their requirements. When Ray spoke with the professor, he said to
give them his name, which the professor did. Ray was called that afternoon,
auditioned at 11:00 that evening, was called at the school the next day and
asked to go to Hollywood to do some recording. The school board let him off, he
went, came home and completed his school year of teaching, and joined the
Jordanaires, officially, June 1, 1958.
Since that time, while working with the Jordanaires, he had a successful,
daily, morning show, "YOUR OWN TIME" on the ABC Channel in Nashville
in 1976. Ray has done modeling, numerous radio, television, magazine and
newspaper commercials (locally and nationally). He was a deputy sheriff (as a
liaison between trouble youth and distraught families) for twenty-some years
and, as were all the Jordanaires, an honorary member of the Tennessee Governor's
Staff in Tennessee for many years.
Among the accolades the group has received during his tenure with The
Jordanaires is induction into the Country Music Hall of Fame, the NACMAI (North
American Country Music Association International) Hall of Fame, the Gospel
Music Hall of Fame, Rockabilly Hall of Fame, Vocal Group Hall of Fame and
others. Ray was inducted into The Rockabilly Hall of Fame, individually,
in 2013. He was, also, awarded the "Avalon Award", the
highest award given for contribution and accomplishment by his alma mater',
David Lipscomb University, in 2005.
It is estimated that Ray Walker has been recorded on more than 200,000
songs and including his professional recording with the Jordanaires,
and is reservedly believed to be the most recorded voice in the history of
music.
Ray was the Bass Singer in
"THE JORDANAIRES" for 54 years and 345 days, when upon the passing of
Gordon Stoker, March 27, 2013, "THE JORDANAIRES" as a group,
officially, came to an end. Ray, occasionally, performs with country
crooner Ronnie McDowell, and others, in programs dedicated to the memory of
Elvis Presley.
RAY WALKER TALKS
E L V I S
ON THE RAY SHASHO SHOW-BBS RADIO
CLICK BELOW TO LISTEN
AND PLEASE SUBSCRIBE TO MY
YOU TUBE CHANNEL
PURCHASE … Ray Walker’s "Live
in Concert" at the New Opry House
This CD contains 14 All Time
Favorite songs by Jordanaire, Ray Walker …
And don’t forget to purchase a copy of my book
entitled Check the Gs -the true story of an eclectic American family and their
Wacky family business… or the second edition entitled … Wacky Shenanigans on F
Street- ‘Proud to be Politically Incorrect in Washington DC’... available now
at amazon.com. You’ll live it!!!
-An Interview with Tony Joe White “Polk Salad Annie” legendary singer and songwriter:
Raised on a cotton farm in Goodwill, Louisiana and sneaking his daddy’s guitar at night to play the blues, Tony Joe White is
a true America icon. White’s passion for the blues became apparent at
the age of fifteen after hearing an album by legendary country blues
guitarist, singer and songwriter Lightnin’ Hopkins.
Raised on a cotton farm in Goodwill, Louisiana and sneaking his daddy’s guitar at night to play the blues, Tony Joe White is
a true America icon. White’s passion for the blues became apparent at
the age of fifteen after hearing an album by legendary country blues
guitarist, singer and songwriter Lightnin’ Hopkins.
Tony Joe performed onstage playing mainly Elvis Presley and John Lee Hooker cover tunes. After hearing “Ode to Billie Joe” by
Bobbie Gentry on the radio, White had an epiphany and realized that he
should be writing songs about things he knew. His first big hit “Polk Salad Annie” was released from his debut album entitled Black and White on the Monument Records label. The 1969 single peaked at #8 on Billboards’ Hot 100 and was successfully covered by Elvis Presley and Tom Jones.
In 1970, a song Tony Joe White had penned entitled “Rainy Night in Georgia” was covered by R&B singer Brook Benton. The song reached #4 on the Billboard charts.
Tony Joe White toured worldwide in the 70’s supporting legendary rock heavyweights Steppenwolf, Creedence Clearwater Revival, and Sly & the Family Stone to name just a few.
White also composed various tracks on Tina Turner’s Foreign Affair (1989) album including “Undercover Agent for the Blues” (1989) co-penned with his wife Leann White and “Steamy Windows.” White
also played guitar, harmonica and synthesizer on the album. Turner’s
manager Roger Davies also became Tony Joe White’s manager while signing
with Polydor Records.
His Uncovered (2006) album on Swamp Records featured guest appearances by Eric Clapton, J.J. Cale, Mark Knopfler (Dire Straits), Michael McDonald (Steely Dan, The Doobie Brothers) and Waylon Jennings.
Tony Joe White’s most recent release is entitled Hoodoo (2013). The album spawns a brilliant array of swamp rock, blues and boogie with a hint of psychedelic overtones. I gave Hoodoo(5) stars. My favorite tracks are … “Who You Gonna Hoodoo Now?”… “Holed Up” a tune about the gratification of solitude, “Alligator Mississippi,” and a mystical track co-penned with wife Leann entitled “Gypsy Epilogue.” The album is superbly produced by his son Jody White.
Tony Joe White is a rare gem in today’s ambiguous music world. He’s
an original and could easily be described as a cult hero. White will be
performing various southern dates beginning February 12th in Birmingham, Alabama.
I had the rare pleasure of chatting with Tony Joe White recently about Hoodoo his latest album, The inception of “Polk Salad Annie” and “Rainy Night in Georgia,” his friendship with Elvis Presley, and of course my notorious ‘Field of Dreams’ question.
Here’s my interview with legendary singer, songwriter, guitarist and swamp rock and blues icon… TONY JOE WHITE. Ray Shasho: Tony Joe …how’s it going man? Tony Joe White:“Good man, how are you doing this morning?” Ray Shasho: Are you in Nashville? Tony Joe White: “I live by the river in a little town about forty miles out called Leipers Fork.” Ray Shasho: Did you grow up in Oak Grove or Goodwill, Louisiana? Tony Joe White: “I grew up in Goodwill, Louisiana.
It really wasn’t even a town; it was a church, a cotton gin, a grocery
store, and then farms all around there down to the swamp. Oak Grove was
about fifteen miles away.” Ray Shasho: What was it like growing up in Goodwill? Tony Joe White: “Well, we really never did see any
town at all because there was the cotton fields, the swamp, the river,
and we worked to pick cotton and worked the fields back in there. If you
wanted to go to town you waited till Saturday and rode with somebody
fifteen –twenty miles.” Ray Shasho: Is that part of Louisiana considered Cajun country? Tony Joe White: “Goodwill is up in the northeast end
of Louisiana about twelve miles from Arkansas. When you head on down
south like Baton Rouge or Lafayette, right there is where the line
changes, and the food, the language, and the music is totally
different.” Ray Shasho: Who were some of the influences that triggered you into becoming a professional musician? Tony Joe White:“Down on the cotton farm there was
my mom and dad, my older brother, and then there was five sisters in
between us, and I was the youngest. Everybody played guitar or piano and
sang. But I would just listen back in those days. Then one day I was
about fifteen and my brother brought home an album by Lightnin’ Hopkins.
I heard that and boom, turned it around man. I started sneaking my
dad’s guitar into my bedroom at night and learned the blues licks. I was
into Lightnin’, John Lee Hooker, Muddy Waters, and then all of a sudden
Elvis pops up about that time. We had house parties with all the kids
from the Bayou and the blues is all we played.” Ray Shasho: Did you get to play with some of the early blues legends like John Lee Hooker? Tony Joe White: “John Lee a little bit back in the
dressing room, but I did a whole album with Lightnin’ Hopkins. I played
guitar and harmonica on an album called California Mudslide. It was just me and him … he was always a hero.” Ray Shasho: You’ve been fortunate to play with some
distinguished players and artists over the years like …Eric Clapton, Joe
Cocker and J.J. Cale to name just a few. Tony Joe White: “Through the writing and my songs
over the years and I’d get to go with them into the studio and play
guitar or harp… from Elvis to Joe and artists all over the world, I was
really lucky with the songs.” Ray Shasho: You got to know Elvis Presley? Tony Joe White: “Yea. His producer was a friend of
mine here in Nashville and also my publisher. He called us and said hey
we’re getting ready to do “Polk Salad Annie” live in Las Vegas and we
want to send a plane down to Memphis and pick you and your wife up and
bring you to Vegas and watch us record it. So we sat out there for a
week and listened to the show every night and hung out in the dressing
room. It was so cool man; it was just like me and you talkin’ right now.
Later on at Stax Records in Memphis they did a couple more of my songs
down there. So we got to hang out a few times. Elvis always treated me
really good.” Ray Shasho: If Elvis only sang the blues, he would be Tony Joe White. There were definite similarities between you and him. (All Laughing) Tony Joe White:“Back in that dressing room in Las
Vegas, Elvis had an old acoustic guitar. Every night he’d get it and
say okay show me another lick. So I’d show him a couple of blues runs
and I thought by the end of the week he was going to have it down where
he’d know a few licks but he’d forget them each night. But he didn’t
have to play.” Ray Shasho: I always wondered how proficient Elvis was on the guitar. Tony Joe White: “He only knew a few chords and hung
it around his neck because it looked good. He could make a few chords
but he really loved the blues licks.” Ray Shasho: Your first album entitled Black and White had several musicians that had also played with Elvis? Tony Joe White:“I think the drummer had played with
Elvis and the keyboard player played some with him. Most of the boys
were living in Nashville and trying to make a living playing country
music. So when I came into town and had a little bit of blues hangin’
off of me, it gave them the chance to really go at it in the studio. We
had some really good first takes …everything.” Ray Shasho: Tony Joe, I’m going to include a review of your latest album entitled Hoodoo with this interview in my column. It’s a very original and refreshing sound and I’m giving it (5) stars. Just a great album! Tony Joe White: “It’s funny, across the world
…England, Australia and everywhere, I’ve seen more excitement and good
reviews on this album since “Polk Salad Annie” and Closer to the Truth.
People are really jumping on this album for some reason. People from
the press and magazines say the sound on the album is like you guys just
walked in, plugged up and started playing, and didn’t think much about
it. And I said that’s exactly the way it went down.” Ray Shasho: A lot of blues albums, especially today, are comprised of classic cover tracks … but you’re an original. Tony Joe White: “Swamp rock is what most called it
in the early days, which is blues that you can dance to. I never really
went in for …My baby left me Monday morning…I always liked to try and
write something that would make you want to boogie a little bit. We left
so much breathing room in the album. Jody my son who produced the album
has been listening to me since he was five, so he knew exactly where to
leave stuff out and just let it breathe. ” Ray Shasho: My very favorite tracks on Hoodoo are “ Who You Gonna Hoodoo Now?” and “Holed Up.” Tony Joe White:“Holed Up” is the catalyst on how we
all want to get sometimes man. Get yourself a little trailer house and
back it up to a river and stay there. J.J. Cale used to do that. They
had an airstream and he was kind of a hermit type guy anyway. J.J.
stayed holed up a lot of times.” Ray Shasho: I sensed several psychedelic riffs on certain tracks on the album. Tony Joe White: “I’m still using the original Wah
peddle which I call a ‘Whomper’ that I did on “Polk Salad Annie.” I
bought a Tone Bender back in 1968 which is kind of an old fuzz box made
in England. So I’m still using those two pieces and that’s where you’re
getting that psychedelic feel like the hippie days.” Ray Shasho: The track “Alligator Mississippi” had an interesting story behind it. Tony Joe White: “Highway 61 out of Memphis, which
is according to everybody the old blues road, which the people we’ve
been talking about all played up and down that road. “Alligator
Mississippi” is just outside Clarksdale and is nothing but a big ole
grocery store on the side of the road where a lot of people just hang
out in the parking lot, drink, smoke, gamble and everything. It’s just a
meeting place in a totally black community. But if you needed to stop
there late at night you’d better do your business and get on out.” Ray Shasho: You collaborated on the track “Gypsy Epilogue"a sort of mystical tune with your wife Leann? Tony Joe White: “Leann and I write about two or
three songs a year together and they’re usually really powerful songs.
She did “Undercover Agent for the Blues” (Tina Turner) and Leann wrote
most of all that and I put music to it. To me “Gypsy Epilogue” was one
of the most mysterious songs on the album. I told her when I first saw
the first verse written down … “A gathering of spirits, a scattering of
souls …we all are born naked and some will grow old” … I said man where
are you headed with this? So we worked on it for awhile and I got the
guitar, got the chorus going and then she finished the last part … “No
one can see but they hear the dogs bark.” Dogs can see spirits, so
anyway she ended it with chill bumps.”
“As a matter of fact, I’m getting ready to go into the studio as soon
as we’re done talking and mix two songs that Leann and I just finished.
So we’ll keep our fingers crossed.” Ray Shasho:Will those songs be part of the next album? Tony Joe White:“Yes probably so, I hadn’t really
planned on a next one or anything, songs just pop up with us and I’m
lucky enough to have a studio that I can just go in anytime I want and
call my drummer or bass player and have freedom with it. We do most of
the songs on a first take and sometimes I would just sing and play to my
drummer or bass player, maybe thirty seconds of the song, and then I’d
say okay we’re going to hit record so just play what comes out of your
heart.” Ray Shasho: Both Elvis Presley and Tom Jones recorded your song “Polk Salad Annie.” Which version do you like best? (All Laughing) Tony Joe White: “I’ve got to say, I love Elvis’
version of it because watching him do it live every night …it really
shook him up. Man, he would catch fire. He told me that he felt like he
wrote the song. I said… well, you probably ate a lot of Polk growing up.
But it set him on fire man.” Ray Shasho: When you think of Elvis’ musical repertoire, “Polk Salad Annie” was always an important song on his setlist. Tony Joe White: “I know … it was the first song that
I got cut by someday else from my first album. Brook Benton did “Rainy
Night in Georgia” and they sent me a copy in the mail on a 45rpm and I
played it around fifty times in a row. I couldn’t quit listening to it
and how someone else could grab your words, interpret it, and just make
you feel the whole thing. So after hearing Brook I learned how to sing
it myself.” Ray Shasho: “Rainy Night in Georgia” is such a beautiful song, what’s the origin behind it? Tony Joe White: “When I got out of high school I
went to Marietta, Georgia, I had a sister living there. I went down
there to get a job and I was playing guitar too at the house and stuff. I
drove a dump truck for the highway department and when it would rain
you didn’t have to go to work. You could stay home and play your guitar
and hangout all night. So those thoughts came back to me when I moved on
to Texas about three months later. I heard “Ode to Billie Joe” on the
radio and I thought, man, how real, because I am Billie Joe, I know that
life. I’ve been in the cotton fields. So I thought if I ever tried to
write, I’m going to write about something I know about. At that time I
was doing a lot of Elvis and John Lee Hooker onstage with my drummer. No
original songs and I hadn’t really thought about it. But after I heard
Bobbie Gentry I sat down and thought … well I know about Polk because I
had ate a bunch of it and I knew about rainy nights because I spent a
lot of rainy nights in Marietta, Georgia. So I was real lucky with my
first tries to write something that was not only real but hit pretty
close to the bone, and lasted that long. So it was kind of a guide for
me then on through life to always try to write what I know about.” Ray Shasho: Tony Joe, my favorite version of “Polk Salad
Annie” is yours. It’s one of those classic late 60’s hits that helped
define the decade. Tony Joe White:“They’re still playing it somewhere
and when I hear it I always turn it up like it’s the first time. All of a
sudden in the midst of what was happening music wise on the radio, ole
“Polk” stuck out like a sore thumb. But then it stuck out in the right
way.” Ray Shasho: Tony Joe, here’s a question that I ask everyone
that I interview. If you had a ‘Field of Dreams’ wish like the movie, to
play, sing or collaborate with anyone from the past or present, who
would that be? Tony Joe White: “Man, I’ve just about covered them
all. But I’d say Sade. I’ve loved her music for so long and we’ve had
the same manager. Roger Davies managed Tina Turner, Sade, me, Joe Cocker
…and so we’ve seen each other a good bit. I’ve told her that we’ve got
to hook up one day and she said that she loved my guitar and we’ve got
to do it. We’ve talked about it for about seven years and so far we
haven’t done it yet … but still maybe.” Ray Shasho: Any tour dates coming up? Tony Joe White: “We’ll be going out in February but I
think most of the dates are in the south. I’m sure we’ll be back in
Europe or Australia in April. I always like to go back to Australia
especially because the people over there remind me of early Louisiana or
Texas days on a Saturday night. Either way it’s good to play in America
for awhile.” Ray Shasho: Tony Joe, thank you for being on the call today
but more importantly for all the incredible music you’ve given us and
continue to bring. Tony Joe White: “Thank you for calling Ray …take care man!”
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 - Please support Ray by purchasing his book so he can continue to bring you quality classic rock music reporting. “Check the Gs is just a really cool story ... and it’s real. I’d
like to see the kid on the front cover telling his story in a motion
picture, TV sitcom or animated series. The characters in the story
definitely jump out of the book and come to life. Very funny and scary
moments throughout the story and I just love the way Ray timeline’s
historical events during his lifetime. Ray’s love of rock music was
evident throughout the book and it generates extra enthusiasm when I
read his on-line classic rock music column on examiner.com. It’s a
wonderful read for everyone!” …stillerb47@gmail.com
Suzi Quatro
is an internationally renowned renaissance woman. Although most of her
extraordinary achievements in the arts were celebrated outside the
United States, she has left a momentous impression as the original first
lady of rock ‘n’ roll.
The leather clad, bass guitar slingin,’ Motor City- rock ‘n’ roll queen- Quatro, first gained notoriety in the early 60’s playing venues around Detroit in an all-female garage rock band called The Pleasure Seekers. Her sister Arlene became the bands piano player and Suzi’s older sister Patti Quatro their guitarist. Patti would later become epitomized as a member for yet another all-girl rock sensation ‘Fanny’ (“Butter Boy” #29 Hit on Billboard’s Hot 100).
The Pleasure Seekers shared the limelight in those early days with
future rock legends Bob Seger, Grand Funk Railroad, Ted Nugent, Alice
Cooper and many other acts. In 1965, The Pleasure Seekers recorded two singles, “Never Thought You’d Leave Me” and “What a Way to Die.” In 1968, Mercury Record signed The Pleasure Seekers to
a recording contract and the band began touring extensively throughout
the U.S. and internationally. Also that year, the band toured with Eric
Burdon and The Animals. -Check out the re-released, “What a way to Die” by The Pleasure Seekers available at CD Baby or amazon.com.
With the music scene rapidly changing into heavier album rock format
FM radio, the band quickly shifted gears. They formed a new band called ‘Cradle’ which spotlighted the sensational vocalizations of Suzi and Nancy Quatro. Cradle
became an incredible psychedelic/hard rock act that toured with groups
like The Jefferson Airplane, Jeff Beck, Santana, Ten Years After,
Traffic, Mountain, and numerous other bands. The band broke up in 1973.
-Check out the newly released CD by Cradle entitled, “The history” available at CD Baby or amazon.com. (Never released until now) -Notable track, “Ted” is an incredible tune.
Suzi Quatro’s vivacious performances in Cradle caught the attention of legendary British producer Mickie Most (The
Animals, Herman’s Hermits, The Jeff Beck Group, Donovan, Hot Chocolate
and Lulu). In 1971, Quatro moved to England permanently and signed onto
Mosts’ label RAK Records.
Her first single was called, “Rolling Stone” (#1 Hit in Portugal) and
featured Peter Frampton (Humble Pie) on guitars, Micky Waller (Jeff
Beck Group) on drums and Errol Brown (Hot Chocolate) on back-up vocals.
After modest success from her debut single, Most brought in the
songwriting and production team of Nicky Chinn and Mike Chapman. Quatro immediately hit the road on a UK tour supporting the bands Thin Lizzy and headliners Slade. Suzi Quatro’s second single; “Can the Can” became a
#1 Hit in Europe and Australia in 1973. Quatro followed with a string of
hits, “48 Crash,” “Daytona Demon,” and “Devil Gate Drive.” Each sold
over a million copies.
Quatro supported Alice Cooper
on his ‘Welcome to my Nightmare’ tour in 1975 but couldn’t duplicate
the notoriety she earned in the UK and Australia. But in 1979, Suzi
scored big in the U.S. with the hit, “Stumblin’ In” (#4 Hit on Billboard’s Hot100) a Chinn/ Chapman penned composition performed as a duet with Chris Norman (Smokie).
Suzi Quatro became a household name in the U.S. as ‘Leather Tuscadero’ on the hit Television sitcom, ‘Happy Days.’
Leather was the leader of an all-girl band called, ‘Leather Tuscadero
and the Suedes.’ Her sister in the series was ‘Pinky Tuscadero’ a former
girlfriend of ‘The Fonz.’ Garry Marshall offered her an audition after
seeing a picture of Suzi on his daughter’s bedroom wall.
Most recently in 2005, Quatro was featured in a documentary film called, ‘Naked Under Leather’illustrating her life and much-esteemed career. Also that year she recorded a tribute song, “Singing With Angels” dedicated to her lifetime idol Elvis Presley at Emerald Studios in Nashville with Presley’s original backup singers The Jordanaires.
Quatro released her self-written autobiography, ‘Unzipped’ in 2007.
Quatro released her fifteenth studio album, In the Spotlightin 2011.
Today Quatro hosts a classic rock radio show called, ‘Wake Up Little Suzi’ on BBC Radio 2.
Suzi Quatro will be performing the stage production of “Unzipped,” her one woman show, at the London Hippodrome Casino from October 29th thru November 3rd.
She’ll also be touring in Germany and Russia for the remainder of 2012.
Earlier this year, while stepping on a flight of steel stairs at Kiev
airport the day after a gig, Suzi fell breaking her knee and wrist. She
was scheduled to perform in the U.S. for the Detroit Music Awards but
unfortunately had to cancel. It would have been her first performance
in the U.S.A. in over 30 years. I had the rare opportunity to chat with Suzi Quatro
last week by Skype from her home in England about her role as woman
pioneer for rock ‘n’ roll, her illustrious music and acting career, and
when she might be touring America again.
Suzi Quatro has sold over 50-million records and
helped pave the wave for generations of women rockers. Some of the women
inspired by Quatro are Joan Jett, The Runaways, Pat Benatar and Deborah Harry to name just a few.
And just think … it all began when her father gave her a 1957 Fender
Precision, her first bass guitar, which she still plays today.
Here’s my interview with singer, songwriter, musician, actress, author, and rock ‘n’ roll pioneer SUZI QUATRO. Ray Shasho: Hi Suzi, you look fantastic … how are you feeling? Suzi Quatro: “I’m feeling
much-much better and walking unaided now for about ten days. I’m walking
pretty straight but sometimes I dip a little bit when I get tired. I’m
driving, swimming, going to the gym, and slowly getting back to normal. I
have to build up my stamina a bit, but my bass playing even though I
broke my wrist is better than ever, this is coming back three hundred
percent.” Ray Shasho: So how exactly did you injure yourself? Suzi Quatro: “I was in
Kiev doing a show and coming home from the gig. It was the following
day; I was going to the airplane and had my rolling bag which is heavy
by the way, I had everything with me because I try not to check it. Then
they took us down those horrible little steel steps that they seem to
do now, so I grabbed the handle, my heel got on the step, down I went
with all the weight …my hand and the bag which is heavy, I landed on my
knee and broke that, rolled and landed on my wrist and broke that, kept
rolling and finally came to rest on my chin. So they sent me home
because I didn’t want to be there.”
“I was three and half hours on the plane without any treatment, then
two and half hours to the emergency room … then of course you wait for
them to treat you. Long story short …they misdiagnosed me, two weeks
later they discovered that they got it wrong and I had to have the knee
cut, bones re-broken, two screws put in … just wonderful! So now I’m
suing the emergency room because I didn’t need all that, they shouldn’t
be allowed to get it so wrong. I’ve got a scar on my knee that I didn’t
need, I’ve missed three and half months work … maybe should have just
missed a month. But I don’t like to dwell on it because it’s all over
and I can’t change it, so I’m getting myself back together now.” Ray Shasho: Well you look
marvelous, like back in your ‘Leather Tuscadero’ days on Happy Days. I
met Henry Winkler about four years ago in Sarasota at a Boys Club
function, he had just written a children’s book. Suzi Quatro: “He’s a sweetheart and one of
my favorite people. He, Ronnie Howard and Garry Marshall gave me such
nice quotes for my book cover. Henry and Ronnie Howard actually made the
book cover for my autobiography. I called Ronnie Howard up and asked
him for a quote and he sent me three pages. Typical director … he said,
“Well, I wanted to tell the whole story Suzi” (All laughing).” Ray Shasho: Talk about performing your one woman show on stage in London. Suzi Quatro: “It’s at the London Hippodrome
Casino October 29th thru November 3rd. It’s called “Unzipped,” a walk
through my life; it takes you from my childhood to the present day. I
wrote the script while I was housebound. So … I’m getting excited
because it’s something that I’ve wanted to do for a very long time.” Ray Shasho: Any plans on taking the show on the road? Suzi Quatro: “I would love
to … of course this is six nights at a small place which is very
classy. We’ll test it out and see if it’s as good as I think it is, see
how the audience responds, and if all goes like I think it’s going to
go, I can take it anywhere in the world. Because it’s interesting you
know … we’re talking about a whole life in show business. In 2014, it
will be my fiftieth anniversary as a professional.” Ray Shasho: I think it’s amazing
when rockers make that crossover into stage, screen or television. I
interviewed Michael Des Barres recently who is another amazing story. Do
you know Michael? Suzi Quatro: “He sang on “Woman Cry” and “Ego in the Night” from the Rock Hard
album. And I sang on one of his albums when he was in Silverhead. Boy
that goes back a long way doesn’t it? But I’ve known Michael for a long
time.” Ray Shasho: I remember when you
toured with Noddy Holder and Slade back in the early 70s, and wore those
shiny body outfits … I thought you were part of the glam rock scene.
Suzi Quatro: “I did one tour with
them before I had hits of my own. I did have kind of a sparkly outfit on
but that wasn’t me that was just something to wear so I would stand out
at the beginning of their show as a guest opener. Then I came into my
own with my leather jumpsuit, it was always my dream to wear that. I
never ever saw myself as glam because I didn’t wear makeup … my image is
a plain leather jumpsuit which is not glam at all. I’ve always seen
myself as rock ‘n’ roll and not glam. I think it got confused because I
was the only woman around and it was at that time the glam explosion was
happening.” Ray Shasho: You also toured with Alice Cooper. Suzi Quatro: I did, with Alice in 1975 … I was the special guest on his ‘Welcome to My Nightmare’ tour.” Ray Shasho: Suzi, what were those days like playing the huge arenas? Suzi Quatro: “It was not stop work. You’re
always on an airplane; you’re always in a dressing room, you’re always
trying to get some more sleep if you can. It’s the double-edged sword, a
combination of all your dreams because you made it, so hooray all my
homework paid off, but then it’s the graft of keeping it there, it’s not
making it, it’s keeping successful. Anybody can have a hit … it’s the
second one, and the third one, and the fourth one … I’m up to 55 million
records now which is pretty damn good and still going strong. I’d love
to get back and tour America again, we just stopped and I don’t know why
that is but I’ll get back there.” Ray Shasho: Weren’t you supposed to be performing at the Detroit Music Awards recently? Suzi Quatro: “Yes, my
injury. I was supposed to receive a longtime achievement award and at
the end my sisters did a thing with Pleasure Seekers and Cradle. I was
supposed to play with them and then join some other musicians and do my
stuff. Of course I had to cancel, that was the first thing I did as soon
as I got home from the hospital … after they told me I’ve broken
everything. The first person that I called were the people from that
show and told them that I couldn’t do it and felt horrible. I hate
canceling anything, I’m the show must go on mentality. If you can crawl
you can take the stage. But at this point, I couldn’t even crawl,
couldn’t even get off the couch without help. So that was not something
to play with, it was a serious injury.” Ray Shasho: You’re actually the
second musician that I’ve talked with recently who has been sidelined
with an injury. Frank Marino of Mahogany Rush developed frozen shoulder
from meticulously editing in his studio. Frank’s an interesting guy, he
writes theology. Suzi Quatro: “He can go talk with Gene
Simmons, Gene studied that. We had a long, long debate about it one
night. Gene’s a smart cookie you know. I love a good debate and always
up for the task. I’m one of those rare breed of rock ‘n’ rollers with a
brain, probably because the brains still intact. (All laughing)” Ray Shasho: So many women rockers
have been inspired by you. You’re the original queen of rock ‘n’ roll;
some even refer to you as a female Elvis, your biggest inspiration. And
you wrote a song recently dedicated to the king? Suzi Quatro: “Elvis is my whole inspiration
… and that’s also in the show by the way. My tribute is called,
“Singing With Angels” with guitarist James Burton and The Jordanaires
…can you believe it! In the show there’s a film clip of making that and
it is awesome.”
“I was the first to have success, certainly not the first female
musician by a long shot, but the first rocker/musician to actually go
out and say hey … we can do this. I became a benchmark for people… if
she can do it, I can do it. I didn’t think I was going to change the
world for women; I just did what I did. My big thing was that I didn’t
change who and what I was to become successful. I will not be told what
to do; I’m a real independent girl. I got lucky that the world was ready
for this to happen.” Ray Shasho: I love Joan Jett, but when I watch Joan Jett … I see Suzi Quatro. Suzi Quatro: “That is a no brainer. She’s
not like me now because I’ve moved my way and she’s moved her way. But
she took on the original image and made that more punk. When she first
came to the UK and had the hit with, “I Love Rock ‘N’ Roll” and it was
on TV, people called me and said I saw you on TV you have another hit …
great! So that’s a little bit spooky. But saying that, I’m very proud
of what Joan has done. She took my inspiration, grabbed it, and ran with
it. I give her credit … she’s done very well. One of my favorite songs
is “I Love Rock ‘N’ Roll.” Ray Shasho: Have you and Joan Jett ever played on each other’s albums? Suzi Quatro: “No I haven’t and
neither has she. I would someday love to do a gig together. That would
be fantastic! We’d have to do a few songs together … that would be fun,
maybe that will happen who knows. Be careful what you wish for.” Ray Shasho: You had such an
incredible relationship playing with your sisters in those early bands
The Pleasure Seekers and Cradle. And your sister Patti would later
become a member for yet another all-girl rock sensation ‘Fanny.’ Suzi Quatro: “The Pleasure Seekers
was from 1964-1969 and for about a year and a half it changed to
Cradle. Then I went to England. We worked nonstop because we were girls,
so we got more gigs than the guys because it was unusual. We had the
novelty factor going for us. Yea, we go back a long way. The Pleasure
Seekers was a cover band, but like most bands are before they have their
own hits. In Cradle, we decided to up the ante and started to write all
of our own stuff so we did a lot of original material.”
“I preferred Pleasure Seekers, my sister and I debate this all of the
time, she liked Cradle. I liked Pleasure Seekers because it was a real
tight sort of teenage show band which I liked, more of an entertainment
band than a serious band. Both bands were instrumental in making me what
I am now. In one band I was concentrating on the show and the other
concentrating on my bass. So you get the show woman and the bass
guitar.” Ray Shasho: Being from Michigan, you shared the spotlight with some of the greatest rock bands of all-time. Suzi Quatro: “You name it we played with
them, we’re all old friends. Bob Seger, Mitch Ryder, MC5, The Rationals,
The Underdogs, Grand Funk Railroad, Brownsville Station. In fact, I’m
going to Detroit in August, because this is another thing I had to
cancel, I’m doing a big documentary on Detroit for my radio show on BBC
Radio 2. I love Detroit and very proud of being from there.” Ray Shasho: I always believed that the Rock and Roll Hall of Fame belonged in Michigan. Suzi Quatro: “Definitely and when are they going to
put me in it. Sometimes they make you wait forever; I don’t want to die
for them to put me in the Rock and Roll Hall of Fame. I want to get in
before that. (All Laughing)” Ray Shasho: What was the trigger that had you leave the United States and move to England? Suzi Quatro: “I was in Cradle and
we were looking for a deal, Elektra Records came to see us and Jac
Holzman offered me a solo contract. The very same week … Mickie Most
came to see us and offered me a solo contract, so it was obvious that it
was my time to go, two offers in one week. Jac wanted to take me to New
York and make me the next Janis Joplin. Mickie Most wanted to take me
to England and record, and turn me into the first Suzi Quatro, so that
was a no brainer … I’m no Janis Joplin and never would be, she is who
she is.” Ray Shasho: “Stumblin’ In” brings
back wonderful memories for me because I was a rookie on Top 40 Radio
when that song was released, and I played the heck out of that song. Suzi Quatro: “It was a great song! I had
people telling me from America that they heard it nonstop on the radio. I
think it was one of Chinn and Chapman’s best compositions, that one and
“If You Can’t Give Me Love.” Ray Shasho: Your album, Back to the Drive
was produced by legendary guitarist of The Sweet Andy Scott. I’ve been
trying to set up an interview recently with Andy but our schedules
haven’t been kind. How did you like working with Andy? Suzi Quatro: “He’s a friend … I love Andy.
We made a very-very good album. A lot of fans think it’s my best album
ever. It’s autobiographical, takes you through fifteen years of my life
without it being planned, just ended up being that way. And it actually
led me into writing the book when I noticed the reaction it was having.
People loved hearing the stories so I thought; okay, now it’s time to
write the book. But Andy also produced, “Singing With Angels” the Elvis
tribute. Working with Andy was great we were always on the same page.
Andy and I may do something again in the future.” Ray Shasho: Why did you choose the bass over the guitar? Suzi Quatro: “I started on bongos when I
was seven, then played piano for quite some time, played percussion in
school, and when we started the all-girl band nobody took the bass. So I
took the bass. My dad gave me a 1957 Fender Precision ... and I still
have it. It was like an epiphany, when I put it on it was completely
natural.” Ray Shasho: Who were some of your favorite bassists? Suzi Quatro: “Probably James Jamerson is
number (1) from Motown. Number (2) is probably Larry Taylor, Canned
Heat’s bass player, he was really good, and number (3) is ‘Flea’ from
The Red Hot Chili Peppers.” Ray Shasho: Suzi, did you write your autobiography yourself or had a little help? Suzi Quatro: “Every single phrase and
punctuation mark, I wouldn’t let them change a thing. I said its ether
my book or it’s not. If you read it, it’s just like you’re talking to
me. I sat down and luckily I’m a great typer, and I just let it flow and
started to type.” Ray Shasho: “In the Spotlight is your latest album, talk a little bit about that. Suzi Quatro: “It’s gotten probably the best
reviews that I’ve ever received in my life and I was humbled by them.
The reviews young and old are just unbelievable. I’m very proud of that
album. Mike Chapman has done a good job,” Ray Shasho: How about a message for all your fans in America? Suzi Quatro: “Get me back to America … the campaign is to get me into the Rock and Roll Hall of Fame and let me do some gigs in America.” Ray Shasho: You certainly deserve
to be in the Hall and we do miss you performing in America. Suzi, thank
you so much for being on the Skype call with me today, but more
importantly for all the great music that you’ve given to the world
throughout years. Suzi Quatro: “Thank you Ray, maybe we’ll see you soon.”
Suzi Quatro official website www.suziquatro.com Order Suzi Quatro’s latest release- In the Spotlight at amazon.com or on her website. Hippodrome Casino London official website www.hippodromecasino.com Suzi Quatro’s autobiography"Unzipped" available to purchase on amazon.com
Coming up… recent interviews with Lou Gramm, Steve Hillage, Johnny Winter and Annie Haslam.
Buy 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-Please support Ray so he can continue to bring you quality classic rock music reporting. ~~Pacific Book Review says Ray Shasho is a product
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