Michael Pinder Exclusive: The Moody Blues Founder Admits to Seeing UFO Formations

By Ray Shasho

An Interview with The Moody Blues legend Michael Pinder

Michael Pinder was affectionately labeled “Micky the Moonboy” as a youth for his preoccupation of the moon, stars, music and electronics. But who could have predicted that a silly nickname perhaps more suited for a sci-fi cartoon superhero would actually forecast his destiny. Pinder’s fascination with the cosmos and a life-changing realization that we are not alone in the universe became the basis for composing intricate and surreal musical masterpieces.
Michael played Hymns on the piano in Church every Sunday at his Colonel’s request; in return Pinder received an early discharge from the British Army. Pinder asked for the early-out after hearing The Beatles “She Loves You” on the radio. Ten days later, Pinder was back in Birmingham, England. He quickly found a job working with Streetly Electronics where he learned the mechanics of the Mellotron. Michael Pinder would become an illustrious keyboardist and trendsetter for the instrument.

In 1964 … Michael Pinder (piano, organ and vocals) and Ray Thomas (tambourine, flute and vocals) formed The Moody Blues along with members …Denny Laine (guitars, harmonica and lead vocals), Clint Warwick (bass guitar and vocals) and Graeme Edge (drums and vocals). The R&B/Rock/Pop Birmingham band scored a Top 10 hit in the U.S. with “Go Now” (1965) from their debut album The Magnificent Moodies.
The Moody Blues became part of ‘The British Invasion’ and supported The Beatles on their final UK tour in December of 1965. They followed the tour with their first trip to the U.S. appearing on The Ed Sullivan Show.
In 1966 … after the departure of Denny Laine and Clint Warwick … The Moody Blues reformed with old friend John Lodge (bass guitar and vocals) and Justin Hayward (lead vocals and guitars) who was recommended to Pinder by Eric Burdon of The Animals. The band had an awakening after a disgruntled audience member visited their dressing room complaining about their music. The group immediately changed their musical direction and style, hence … the commencement of one of the most amazing transformations in rock history.
Meanwhile …Michael Pinder suggested to his friend John Lennon that The Beatles use the Mellotron on Magical Mystery Tour …and they did. Pinder’s Mellotron influence is undeniably detected on “Strawberry Fields Forever.” Pinder and bandmate Ray Thomas were also invited to play harmonica on the tracks… “I Am the Walrus” and “The Fool on the Hill.”

“In 1967 …The Moody Blues first attempt at a dissimilar musical direction had consummated with an awe-inspiring masterpiece entitled… Days of Future Passed. It would be the first Decca/Deram Records release in stereo. Michael Pinder’s Mellotron ingrained a brave new transcendental manner and Progressive Rock was born. The proficient players of The Moody Blues were also accompanied by The London Festival Orchestra while creating the band’s first concept album. Days of Future Passed spawned two of the band’s biggest commercial hits with its new lineup … “Nights in White Satin” and “Tuesday Afternoon.” Pinder wrote the tracks… “Dawn is a Feeling” and “The Sunset.” Pinder’s dramatic reading of “Late Lament” added a mind-blowing conclusion to a superlative album. Producer Tony Clarke’s influence also had a huge impact on the group.

The Moody Blues subsequent release … In Search of the Lost Cord (1968) was recorded without an orchestra … although Pinder’s ingenious performance on the Mellotron often sounded like a symphony. Pinder composed “The Best Way to Travel” and “Om” on the album. “Ride My See-saw” became a commercial hit for the band.
In 1969 … The Moody Blues released On the Threshold of a Dream. The group’s signature sound became exclusive to the rest of the rock world. Pinder had considerable songwriting duties on the album with … “So Deep Within You,” “Have You Heard (Part 1),” “The Voyage,” and “Have You Heard (Part 2).”
Inspired by the 1969 moon landing …To Our Children’s Children’s Children was their first album released on the band’s newly formed Threshold Records. The band followed the critically-acclaimed release with … Question of Balance (1970). Pinder penned … “How Is It (We are Here)” and his proverbial classic … “Melancholy Man.”
Every Good Boy Deserves Favour was released in 1971. For the first time, the entire band lyrically collaborated on “Procession” the opening track. Michael Pinder also penned the final track on the album entitled … “My Song.” The release spawned yet another Top 40 hit with … “The Story in Your Eyes.”
Also in 1971 … Pinder played tambourine on John Lennon’s Imagine album on the track … “I Don’t Wanna Be A Soldier Mama.”
Seventh Sojourn released in 1972 brought an end to the classic Moody Blues era. Michael Pinder penned … “Lost in a Lost World,” and “When You’re a Free Man.” The album also spawned… “I’m Just a Singer (In a Rock and Roll Band) and became one of the bands highest charting hits reaching #12 on Billboard’s Hot 100 in the U.S. Pinder also substituted the Mellotron with its precursor the Chamberlin.
In 1976 …Pinder released his solo album entitled … The Promise.

After a lengthy hiatus, The Moody Blues released Octave (1978). Michael Pinder departed the band during the sessions but contributed… “One Step Into the Light.” Pinder was replaced by YES Swiss keyboardist Patrick Moraz. Without Pinder’s Mellotron and Chamberlin influence, The Moody Blues intricate progressive period was over.
The Moody Blues continue to tour and record as a band with Justin Hayward, John Lodge and Graeme Edge (the only original band member left in the group).
In 1994 …Pinder released his solo effort … Among the Stars (a private mail order release).

MOST RECENTLY … Esoteric Recordings has released Michael Pinder’s 3-Disc CD & DVD set of ‘The Promise (1976) & Among the Stars’ (1994) plus new bonus material featuring Michael’s sons (The Pinder Brothers) and Ray Thomas (The Moody Blues) on flute.
I had the rare pleasure of chatting with Michael Pinder recently. We chatted about his remarkable days with The Moody Blues, his relationship and influence on The Beatles, and UFO’S!

Here’s my interview with legendary Moody Blues singer, songwriter, keyboardist, Mellotron pioneer, and technological beneficence to the music world …MICHAEL PINDER.
Ray Shasho: Hi Michael so glad that you could be on the call today. How’s California weather treating you?
Michael Pinder: “Actually it’s not a bad day, there’s hardly any clouds with a little bit of sunshine and it’s about 68 degrees.”
Ray Shasho: I think we’re both lucky because the rest of the country is really suffering … Michael, Esoteric Recordings has released your 3-Disc CD & DVD set of ‘The Promise (1976) & Among the Stars’ (1994) plus new bonus material featuring your sons (The Pinder Brothers) and Ray Thomas (The Moody Blues) on flute.
Michael Pinder: “Yes, Mike and Matt, two of my three sons are on the album. They recorded four albums as The Pinder Brothers and have their own business teaching music. Matt does a lot of gigs playing bass, like with Kevin Russell’s Cream of Clapton. Dan is the third son in Los Angeles; he’s a film editor in the movie business. I have a talented family. My dad played piano and banjo and my mom sang a little bit. Because my dad was a piano player, I was exposed to a lot of early music from the 20’s, 30’s 40’s, 50’s. But after the Elvis period and the first time I heard The Beatles first tune …that was it, the signal for me. I was in Germany at the time in the military. I happened to be in good with the Colonel at the camp because he was very religious and every Sunday morning he would send for me.”

“One morning he said, “Pinder, I understand you play piano?” I was playing for the guys in the Mess. He said, “How about playing a couple of Hymns for me on Sunday? I said, yes sir, no problem sir. I also found out that there was a guy who played bass and a guy who played drums. The Colonel gave us the equipment to play and he said all I want you to do is to play a few hymns on Sunday mornings. So there I am in Germany and I’m listening to the radio on Saturday morning and I heard The Beatles “She Loves You” for the first time …and that was like, oh yea! I thought, I’ve got to get out of here, but I was already signed up for quite a few years. So I went to see the Colonel and I told him what was happening. He said no problem and within about ten days I was back in England.”
Ray Shasho: That’s an amazing story… why did the Colonel give you an early discharge from the military?
Michael Pinder: “The Colonel was the camp. I played for him every Sunday morning because he was very religious. He said thank you for all the music you’ve played for us and we’ll take care of you. Prior to that, I had a band called The Rocking Tuxedo’s which was my first band. Ray Thomas also had a band and we sort of got to know each other. By the time we got to about the third Beatles hit (All laughing), Ray and I decided to put a band together and we called it The Moody Blues. The reason we called it The Moody Blues was because my mom ran a big seven bar British Pub and the name of the beer company was called Mitchells & Butlers …M&B. I thought we could get on the circuit because they had probably about a hundred different pubs. So I thought “Mood Indigo” because the song stuck with me as a kid and we were playing blues tunes. So that’s how I came up with The Moody Blues.”
Ray Shasho: During the British Invasion …the early Moody Blues had a very different sound and musically ahead of their time, much like The Animals, Yardbirds, and Rolling Stones. I guess not being from Liverpool and hailing from Birmingham may have had something to do with it too?
Michael Pinder: “Yea exactly, we were all on the road but all took a different direction.”
Ray Shasho: What was it like touring with The Beatles?
Michael Pinder: “It was absolutely fabulous! It was just them and us. There was a guy who was like a comedian that would open the show and his name was Pinder … I can’t remember his first name.”
Ray Shasho: At what point did you begin playing the Mellotron?
Michael Pinder: “When the Colonel let me off because I heard The Beatles song … I was looking for a job. There was a company located about three miles from where I lived and was born. I read their ad in the newspaper saying they wanted somebody that had mechanical ideas and knew music. So I applied for the job, got it, and it turned out to be a Mellotron company.”
Ray Shasho: I’m really fascinated with the Mellotron as a musical instrument … an electro-mechanical, polyphonic tape replaying keyboard. It basically plays a tape when you press a key. But you altered it in some way when you began playing it?
Michael Pinder: “What I did … on the left hand keyboard there would be rhythm sections and things like that, the right side was used for soloing. I didn’t need the cheesy rhythms so what I did was took those out and put another right handed version in the left and created two mellotron’s … one on my left hand and one on my right.”
Ray Shasho: Michael, you became a trailblazer for the Mellotron.
Michael Pinder: “I was lucky enough to turn The Beatles on to the Mellotron. I called them and they sent four Mellotron’s to The Beatles.”
Ray Shasho: It would have been awesome if you had actually played the Mellotron on the track … but we should all still thank you for your very critical contribution to “Strawberry Fields Forever?”
Michael Pinder: “Yes (All laughing). I did play harmonica on “I Am the Walrus” and “The Fool on the Hill” … me and Ray both. They had every kind of harmonica you could imagine. Ray Thomas and I were also lucky enough to get on the final Beatles UK tour.”
Ray Shasho: You also played on John Lennon’s Imagine album?
Michael Pinder: “I played tambourine on “I Don’t Wanna Be A Soldier Mama.” I turned them on to the Mellotron but when I got there all the tapes were hanging out and nobody knew how to handle it. I couldn’t play Mellotron on that so I grabbed a tambourine, got on the drummer’s high-hat, and went for “I Don’t Want to Be a Soldier Mama.”
Ray Shasho: Was Days of Future Passed …The Moody Blues Sgt. Pepper’s?
Michael Pinder: “I would say so. It was apparently the first stereo record that Decca ever did.”
Ray Shasho: Michael, you were so inspirational and important to the success of The Moody Blues, and composed so many intricate and beautiful arrangements, for instance… "Have You Heard/The Voyage/Have You Heard (part two)" from the album On the Threshold of a Dream. Where do some of your songwriting ideas come from?
Michael Pinder: “It comes from the heart, mind, and things that I’ve listened to over the years.”
“I was born in 1941, at the end of 1945 my mom called me in from the garden while I was collecting spiders. She called … “Michael, I want you to meet somebody,” and there was my dad. He was a sergeant in the military and had just gotten back from France. So she introduced my dad to me … I had never really seen him.”

“My dad used to do deliveries and would bring big crates home so we could break it up and light the fire with it. So we had one in the garden, it was kind of like a coffin without a lid on. I would get a blanket and a cushion and just lie in there and couldn’t see anything except the sky. That was one of my favorite things to do and just watch the skies.”

“When everybody was at work and the older kids were all at school … I used to get a privet stick, strip all the leaves off and turn it into a bow. Then I’d put it behind the little spider webs, onto the web, then go to another one and put it on there … and then watch the spiders fight. There weren’t any spiders left in my garden so I’d go across the street. “So I was in the neighbor’s garden picking spiders off the web and watching them fight. The neighbors weren’t at home. I turned around and there was this guy standing at their front door. He looked like Michael Rennie from the movie The Day the Earth Stood Still. So I turned around and this guy was standing by the door of the house. He points and says, look up there. I looked up and saw formations of different types of spaceships. Then they both sort of disappeared, it was one of those miraculous things. So I’ve always been into the outer space thing. It’s one of those things that stay with you your whole life.”
Ray Shasho: Was that the only time you witnessed a UFO?
Michael Pinder: “In 1966 … with the first band, we were coming back from Manchester around midnight and we always wanted to get back to London before dawn, otherwise we’d have trouble getting to sleep. We were coming down from Manchester on the day they opened the M6 motorway. So we’re driving home about one o’clock in the morning and I’m sitting in the back, and I’d put my head back and look out the back window and look at the stars. So we’re driving and probably doing sixty miles an hour. There was this red light and I said, I don’t remember that radio station around here. So I told the guys to pull over and we got out. We all looked over the top of the car and there was this red ball kind of thing moving across the freeway that turns into a square … like a red dice. As it approached us, it got bigger and bigger, and we were all sort of bathed in this blue light. We ended up getting home three hours late and wondering what the heck was that? …So that really solidified my nickname of “Micky the Moonboy” as a kid. I was always interested in the moon. …Read Zecharia Sitchin … he’s the guy!”
Ray Shasho: Michael, any regrets on leaving The Moody Blues?
Michael Pinder: “No, I don’t because I was really quite happy with what Ray and I achieved. We had what we wanted… we conquered it.”
Ray Shasho: Do you still talk with your old bandmates?
Michael Pinder: “I talk with Ray a lot; we’re still the best buddies. We’re the guys who started the band.”
Ray Shasho: I was part of a family retail electronics business in Washington D.C. and we were among the very first in D.C. to carry Pong, the Atari 2600 console and all the game cartridges. After you left The Moody Blues you actually went to work for Atari?
Michael Pinder: “Yes I did for awhile. I was demonstrating for them. I think I still have my original Pong and Atari in the garage (All laughing).”
Ray Shasho: Graeme Edge lives about 15-20 minutes from me. He’s made headlines in the National Enquirer most recently …did you read it?
Michael Pinder: “Yes… misperforming in back of a car. He kind of deserves what he gets.”
Ray Shasho: Michael, 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?
Michael Pinder: “I think I’ve already gotten to play with who I’d want to play with and that’s The Beatles. When we did the last Beatles tour in the UK that all made sense. Do you remember the song…“Those Were the Days” by Mary Hopkin? …Paul gave the song to us first. I told Paul thanks a lot but it’s not quite us. So it turned out to be a one hit wonder for her and I could kind of sense that. But we were so lucky to have played with so many great bands… especially The Beatles.”
Ray Shasho: Michael, thank you for being on the call today but more importantly for all the incredible music you’ve given us and hopefully will continue to bring.
Michael Pinder: “Ray I appreciate you calling and giving us the chance to chat about it. Cheers!”

Esoteric Recordings releases a Deluxe 3 Disc CD &DVD Set by Moody Blues founder and keyboard player Michael Pinder. -Purchase ‘The Promise/Among The Stars’/DVD set at http://www.cherryred.co.uk/shopexd.asp?id=4389
Michael Pinder official website
Michael Pinder on Twitter
The Pinder Brothers official website
The Pinder Brothers on Facebook
Ray Thomas official website
As always ...very special thanks to “the great” Billy James

Coming UP … My interview with guitarist Wayne Swinny of SALIVA, Joe Bonsall of The Oak Ridge Boys, the legendary Judy Collins, Jesse Colin Young, and Travis Barker of Blink-182.

This article is dedicated to my Brother Harry who has always been a devoted fan of The Moody Blues.
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 - 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


© Copyright rayshasho.com. All Rights Reserved

Petula Clark Exclusive: An Unprecedented Musical Journey Spanning Seven Decades

 -An interview with legendary performer Petula Clark

By Ray Shasho

Internationally renowned singer, actress, and composer Petula Clark has been exquisitely entertaining audiences since she was a child performing for the troops during World War II. Clark has sold more than 68 million records. She’s recorded over 1000 songs while landing 15 U.S. Top 40 hits and two #1 hits. She’s charted an astounding 159 recordings worldwide. She’s won Grammy Awards in 1964 and ‘65. The incredible musical collaboration between composer-arranger Tony Hatch and Petula Clark generated hit after hit throughout the Swinging 60’s. She may even be labeled as the ‘First Lady of the British Invasion.’

Some of Petula Clark’s amazing string of U.S. hits include … “Downtown” (1964), “I Know a Place” (1965), “You’d Better Come Home” (1965), “Round Every Corner”(1965), “My Love” (1966), “A Sign of the Times” (1966), I Couldn’t Live Without Your Love”(1966), “Who Am I” (1966), “Colour My World” (1967), “This is My Song,” (1967), “Don’t Sleep in the Subway (1967), The Cat in the Window(The Bird in the Sky)” (1967), “The Other Man’s Grass is Always Greener”(1968), “Kiss Me Goodbye”(1968), “Don’t Give Up” (1968), and “Happy Heart”(1969) to name just a few.

Petula Clark has also appeared in more than 30 British and American motion pictures including … Finian’s Rainbow (1968) with Fred Astaire and Tommy Steele and Goodbye, Mr. Chips (1969) with Peter O’Toole. Clark was also a popular television personality starring in three of her own American TV specials and as a guest star on countless other shows including her enchanting duets with Dean on The Dean Martin Show. Throughout the 70’s, Clark became a celebrated Las Vegas performer. In the 90’s she performed on Broadway in the production of Blood Brothers. In 2000 … Petula showcased a one-woman show, a concert highlighting her life and career. In 2003, she was the recipient of the Grammy Hall of Fame Award for her everlasting worldwide smash hit “Downtown.”

At 81 … Petula Clark is more brilliant and radiant than ever. Her latest release is entitled … Lost In You. The album is beautifully produced and arranged by John Williams and features twelve magnificent tracks of musical bliss. Petula’s vocals are superlative and her skills as a composer splendor on a track entitled “Reflections.” Her phenomenal lyrical content is brilliantly assimilated to music by Johann Sebastian Bach. The album spotlights a breathtaking cover tribute to an old friend John Lennon. Petula’s “Imagine” is probably the best cover version of the song that I’ve ever heard. She creatively added hints of “Strawberry Fields” to the track. The other two covers are a beautiful rendition of Elvis Presley’s “Love Me Tender” and an exciting new version of her 1964 mega hit “Downtown.” Every song on the album sparkles. “Cut Copy Me,” “Imagine” and “Reflections” are personal favorites.

I gave Petula Clark’s Lost In You … (5) Stars!

Petula lives in Switzerland and is as busy as ever. She continues to tour and is anxious to get right back in the studio again. I was extremely honored to be able to speak with Petula Clark recently. She’s glamorous, brilliant, witty, and charming all at the same time. She’s an incredible lady and a worldwide treasure.

Petula and I chatted about her latest album … Lost In You, her signature #1 international hit “Downtown,” a longtime collaboration with Tony Hatch, the British Invasion, the infamous Harry Belafonte story, Dean Martin, my notorious 'Field of Dreams' question and so much more.

Here’s my recent interview with International Singing Superstar, Top 40 Hits Musical Legend, Composer and Actress … PETULA CLARK.
Petula was in the Rhône-Alpes region at the south-eastern part of France in Megève during our interview.
Ray Shasho: Petula how are you?
Petula Clark: “I’m well Ray; we’re up in the mountains here. We have a chalet up here. It’s been a beautiful day, and it’s always perfect when you have lots of snow and blue skies. It’s not Florida …but not bad at all.”
Ray Shasho: You live in Switzerland?
Petula Clark: “I’ve been living in Geneva, Switzerland for many years. There’s a German and Italian part … we’re in the French speaking part. It’s actually an interesting country.”
Ray Shasho: What enticed you into becoming a professional singer?
Petula Clark: “I started very young. My mother was from Wales and I spent quite a lot of my childhood in Wales and I used to speak Welsh. The first time I sang in public was in Chapel. But I didn’t make up my mind to become a professional singer; I was about five or six years old. In fact on the new album there’s a song called “Reflections.” I wrote the lyrics to some music by Bach and I decided to write about that moment in my childhood in Wales. That’s when I first became conscious of music within me and then it was important to me.”

“From then on … the first time that I sang in a big way was on the BBC in London, it was during the war and there was a lot of bombing going on. It was a fairly dangerous kind of place to be. But the BBC used to do a show at a theater in Piccadilly, which is still there; it’s called the Criterion Theatre. The BBC used this theatre because it’s underground and in fact it’s still there underground. They used to do this show especially for the troops and I had an uncle who was in the service. It was just a show for kids who could send messages to their dads, uncles or brothers… just say we’re fine and I hope you’re okay kind of thing.”

“In the middle of the rehearsal for this show there was a huge air raid. So some of the kids were really getting scared and the producer asked if somebody would like to come up and say a piece of poetry or sing a song to calm things down a bit. No one else volunteered so I got up and sang a song. I think I was eight years old. I sang into the microphone and they heard it in the control room and decided it would be nice if I sang for the show too. So they recorded me and it went out to the troops and had a huge positive reaction. From then on I became a regular on BBC radio. So that was the beginning of my career in England.”
Ray Shasho: What types of music were you listening to back then?
Petula Clark: “I was listening to jazz then and swing and then of course rock and roll came along but the BBC was not playing that kind of music. You had to tune in to Radio Luxembourg or there were pirate radio stations where you could hear that kind of thing. Sometimes you’d get records smuggled over from the states. In general, we in the UK were listening to American music. We had some good performers but we wanted to hear American music because that was the real thing. What happened eventually in the 60’s, all the American music which was really a one way traffic coming from America to the UK, suddenly turned around and was coming from the UK to America. It was still basically American music which we had in some way digested. When I say we, I’m talking about The Beatles, Rolling Stones and all the groups… we had digested this American music and as it got into our system we somehow touched it with our Englishness and made it sound a little bit different. I think that’s what attracted Americans when they heard it.”
Ray Shasho: I think Lonnie Donegan also gave the Brits a taste of things to come, perhaps a precursor to Beatles music.
Petula Clark: “Yes, with the Skiffle music. Lonnie, who I knew, he was basically copying American music. But The Beatles put something else into it. They put music into it. And of course eventually with George Martin it became something very special and orchestral. Many acts were using an orchestra in a very interesting way. If you want to talk about the English side of it … that’s where we were coming from, taking the kind of music that we had grown up with and putting out our own personal feeling into it.”
Ray Shasho: The collaboration between you and Tony Hatch which produced a seemingly endless string of Top 40 hits throughout the 60’s was extraordinary.
Petula Clark: “It was interesting stuff too because it’s musically well constructed. The problem that I have basically with rock and roll when it first happened is that it sounded a bit basic to me. I had grown up with Swing and listened to Stan Kenton, Duke Ellington and Count Basie. I was used to hearing great harmonies and for me rock and roll was a bit flat, I understood the beat but I wanted to hear some music in there too.”
Ray Shasho: Well after saying that … I believe you also represented the women of the British Invasion.
Petula Clark: “I suppose so and do know what you mean of course. There was this sudden invasion by all the British groups and I kind of got sucked into it in a very pleasant way. (All laughing) And let’s face it there was Dusty Springfield too, she was the best, and then there was Lulu and a few others. I really was fortunate because I had Tony Hatch writing great songs for me. Really what matters is having the right songs to sing.”
Ray Shasho: “Petula, is it true that Tony initially wanted The Drifters to sing “Downtown”?
Petula Clark: “You know I don’t know if that’s absolutely true, I know Tony very well, in fact I saw him the other day. We’ve talked about that and I’m not even sure if that story is really true. It might be… but I honestly don’t know.”
Ray Shasho: Well that’s why I get to substantiate these stories directly with the actual artist. (All laughing) I also read that Jimmy Page (Led Zeppelin) was a session player and contributed in the studio on the “Downtown” recording.
Petula Clark: Oh yea, we had great musicians on all those London sessions, they were the cream of the crop, and Jimmy was just one of those great musicians. At the time we didn’t know he was going to be Jimmy Page. (All laughing) It’s funny, I saw him recently at a party at the Royal Academy of Arts, it’s everybody who is anybody in British show business is there. I was just strolling through there and this guy was leaning against some painting and he said … “Hi Petula do you remember me?” I looked at him and saw this good looking guy with silver hair and I said …I think so. He said of course, I’m Jimmy … Jimmy Page, I used to play on many of your sessions.”
Ray Shasho: Petula, I must ask you about the controversy regarding holding singer Harry Belafonte’s arm in 1968.
Petula Clark: “Oh please … this story just keeps coming back. I saw Harry very recently, we were in Dublin doing a thing for Amnesty International and the story has kept us very close. It was my first special for NBC and it was very important. They had asked me who I would like as my guest and I had always admired Harry, I had mentioned his name, they asked him and he said yes. Obviously I was delighted. We rehearsed for about two or three weeks and really got along well. We liked each other, had fun, and had the same feelings about a lot of different things. The song that we decided to do as a duet was a song that I had co-written called “On the Path of Glory” a kind of anti-war song. Let’s face it, I wasn’t Bob Dylan going around waving banners and things … but I am anti-war of course.”

“So anyway we liked singing the song together and when we came to tape it I put my hand on his arm. What happened was the guy that was representing the sponsor went crazy of course, saying, “I’m not going to have my star touching a black man’s arm” … and we didn’t know about this because we were in the studio. We didn’t hear all this. So the producer Steve Binder (Produced Elvis: The ‘68 Comeback Special) who is absolutely great said okay we’ll try something a little bit different. We then tried it where we were not actually standing together using special effects. But later my husband and I decided that we were going to use the take with me standing next to Harry. So we had to get rid of the other take, which is what we did. I couldn’t figure out what this was all about … my piano player and choreographer were black. For me it was what we call a storm in a teacup. At that moment it was very important. It made the news and I was very surprised that it got out.”
Ray Shasho: I’ve always admired you, not only for your incredible success of Top 40 hits, but also for the legendary singers and actors you’ve befriended and performed with. I’ve always enjoyed the duets you did with Dean Martin.
Petula Clark: “I’m not really nostalgic and sit around saying, yea, those were the good old days. But performing with Dean was such fun. We laughed all the time. It was the easiest thing in the world because he never rehearsed. Everybody else had to rehearse so that they knew what was going on, but he never really knew what was going on, which was part of the charm. He always looked like he was a bit dazed, which in fact he was because he actually didn’t know what was happening next. After I had done the show, which was about three times, they realized that I was a very fast learner and that Dean liked working with me. I used to come in just the day before and they would make all my clothes for me, I didn’t need fittings because they knew what I liked to wear. They didn’t have to work on the music because they knew my voice and so I would just slip into the show. It was just fun.”
Ray Shasho: I always admired Dean Martin’s cool and laid-back persona.
Petula Clark: “I think he was very talented. People sometimes thought that he wasn’t Sinatra or Jerry Lewis … but he had a very special talent, there was nobody quite like Dean. I’ve watched and worked with him often enough to see the skill of what he did. That sort of casual thing he did is not as easy as people think it is.”
Ray Shasho: Petula your latest album entitled … Lost in You is an absolute masterpiece and I gave it (5) stars. If I could give it more stars … I would. You are truly an amazing woman, you not only look as beautiful as ever, but you continue to sing as beautiful as ever.
Petula Clark: “Thank you! It was so easy to make this album. We made this in a tiny studio. It didn’t even look like a studio but almost sort of like a garden house. I think on a couple of tracks you could actually hear the birds in the garden because my vocal microphone was in front of a window. I could actually see flowers and birds and the cat chasing whatever he was chasing. It was only the engineer, John, and myself in that tiny studio. We didn’t go to Abbey Road or anything like that and frankly if you’ve got the right songs, the right engineer, and you’re feeling good… that’s all you need really. We had a little moment where John suggested that we do “Downtown” and I said no way. Then I had to go to Paris for a few days and when I returned he sat me down in the studio, pressed a button and said just listen to this. I said that’s really nice what is it? He said that’s “Downtown.” I said are you sure? He said just try singing it. And it was just like singing a new song. I don’t know if it quite works but it was interesting for me to do it.”
Ray Shasho: It was difficult to single out my favorite tracks on the album because they were all equally great. But if I had to name a few favorites … loved “Cut Copy Me”… “Next to You,” and your artistic and awe- inspiring rendition of John Lennon’s “Imagine” which cleverly embraces Strawberry Fields-like overtones.
Petula Clark: “Well, I liked John and he was very sweet to me. When we were choosing songs for an album like this we said we should do some covers. One of them was “Downtown,” “Love Me Tender” because I met Elvis a few times and then John Williams the producer said how about a Beatles song? I said yes but there were so many to choose from. We tried “Blackbird” but I didn’t think it worked for me. I was very close to doing “Long and Winding Road” and then I thought, no, it’s got to be John. So “Imagine” is my tribute to him and it was my idea to do the Strawberry Fields bit.”
Ray Shasho: I think besides John’s original version of “Imagine,” I have to say that I enjoyed your cover version of the song better than any previous covers that I’ve heard.
Petula Clark: “Oh thank you! I loved singing it. I have sung it before but never recorded it before. But we’ve got it down now.”
Ray Shasho: “You penned the lyrics on “Reflections” a beautiful and heartfelt composition about how music became your life since a child in Wales. Talk about the song.
Petula Clark: “I wrote the lyrics and the guy who wrote the music is Johann Sebastian Bach. (All laughing) So I didn’t write the music. This was John Williams’s idea, he said why don’t we take a piece of classical music and put lyric to it. So he played me this piece by Bach and I thought, that’s beautiful, but who’s going to write the lyrics to that? He said well you are. I said oh really, well give me an idea. So he said make it very personal and so I did.”
Ray Shasho: I watched a collaboration you did with Irish rockers ‘The Saw Doctors’ on You Tube singing “Downtown.”
Petula Clark: “That was just having fun. I actually did my bit in Paris. I was doing a concert in Paris and wasn’t able to be with the guys.”
Ray Shasho: You also collaborated with French/Armenian singer Charles Aznavour recently?
Petula Clark: “I did a French album just before I did the English one. We were going to do a duet and I went along to his office, I know him quite well, and just as I was leaving he gave me this piece of paper with some lyrics and said write some music to this. I don’t take myself very serious as a songwriter but in this case I was writing the music. So I did the music to this Aznavour song which is actually quite pretty.”
Ray Shasho: Petula, here’s a question that I ask everyone that I interview and the responses are always fascinating. 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?
Petula Clark: “Oh dear. It’s difficult to just pin one down because I’ve performed with a lot of great people. I wouldn’t mind performing with Pink Floyd. I did this thing in Dublin and got together with Roger Waters. We had a long chat together. Looking back …Pink Floyd was a great band. I don’t think it will ever happen but I think it would be fun to play with them.”
Ray Shasho: How about upcoming concert dates … I noticed various Australia dates in April and May and then limited engagements in Singapore and Canada?
Petula Clark: “Yes, April and May and I’m going to be doing some French dates too. For the moment that’s sort of it. They wanted me to do another UK tour in the spring next year but I don’t think I’ll be able to do that because I’ve got some French dates coming up. But I’d like to go into the studio again… that would be nice. I’ve talked to John and I’m going to London next week, so I’ll probably have some meetings with him and other people and do some songwriting.”
Ray Shasho: Petula one last question … and I know you should never discuss age with a woman, but you turned 81 last November. You look stunning and frankly sound better than ever. Do you have any secrets to share?
Petula Clark: “No secrets … I don’t do anything. Seriously I think I’m just lucky. I don’t think about age to be honest with you. I have no idea how old you are and I don’t care. Either you can do it or you can’t … it’s got not much to do with age frankly.”
Ray Shasho: Petula it’s been a real pleasure … thank you so much for being on the call today, but more importantly for all the incredible music you’ve given us and continue to bring.
Petula Clark: “Thank you very much Ray, I enjoyed it.”

Very special thanks to Claude Wolff
Petula Clark’s incredible new album Lost In You is available at amazon.com
Petula Clark official website
Petula Clark concert dates
Petula Clark on Facebook
Petula Clark on Twitter
Petula Clark on Myspace
Teenage Cancer Trust
Operation Music Aid

Coming up NEXT … My interview with Michael Pinder original keyboardist and founder of The Moody Blues

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 - 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

© Copyright rayshasho.com. All Rights Reserved

Geoff Downes Interview: YES /ASIA keyboardist diligently creates without musical boundaries

 

  By Ray Shasho

Virtuoso keyboardist, multi-instrumentalist, songwriter and producer Geoff Downes has been legitimizing the art of great music since the inception of The Buggles with Trevor Horn in 1977. Downes symphonic savvy has allowed him to venture into multiple musical genres while perpetuating Prog- Rock prominence as the illustrious keyboardist for supergroups YES and Asia. Geoff Downes is undeniably one of the hardest working musicians in the business. Downes is currently in the studio recording a new YES album while awaiting the release of a brand new Asia album entitled Gravitas, targeted for an April release.

Then there’s his remastered New Dance Orchestra –Electronica release which epitomizes the type of Pop music that should be played on mainstream radio stations these days. The vocals are superlatively performed by Anne- Marie Helder (Panic Room) and every track on the album is exceptionally strong. His collaboration with Helder clearly demonstrates Downes ingenuity for musical diversity. I gave New Dance Orchestra –Electronica by Geoff Downes (5) Stars!

In 2012 …Downes shared his musical foresight with singer, songwriter and producer Chris Braide (Producers w/Trevor Horn). The collaboration entitled DBA (Downes Braide Association) spawned the critically-acclaimed release Pictures of You. Braide has written and produced for Britney Spears and Christina Aguilera to name just a few.

Geoff Downes with YES will be performing …The YES Album (1971), Close To The Edge (1972), and Going For The One (1977) in its entirety as the band embarks on a Canadian tour beginning in March. The current YES lineup is … Geoff Downes (keyboards), Chris Squire (bass, vocals), Steve Howe (guitars), Alan White (drums) and Jon Davison (lead vocals).

YES will also set sail from Miami, Florida on April 7th with Cruise to the Edge. The ship will visit Isla de Roatan, Honduras and Cozumel, Mexico. Some of the incredible Prog-Rockers scheduled to perform on the ship include … YES, Marillion, Steve Hackett -Genesis Revisited, UK, Queensrÿche, Tangerine Dream, Renaissance, Patrick Moraz, Stick Men (featuring Tony Levin), The Strawbs and many-many more. For cruise information visit http://cruisetotheedge.com/

Geoff Downes with Asia will begin touring in June for a couple of dates in the UK followed by a Japanese tour. The current Asia lineup is … Geoff Downes (keyboards, vocals), John Wetton (lead vocals and bass), Carl Palmer (drums, percussion) and Sam Coulson (guitars).

I had the great pleasure of talking with Geoff Downes last week while he took a timeout from recording in the studio for the new YES album. We chatted about his most recent studio albums … New Dance Orchestra –Electronica, DBA -Pictures of You, brand new YES and Asia releases, the inception of The Buggles classic Top 40 hit “Video Killed the Radio Star,” the current state of the music industry and so much more.
Here’s my recent interview with virtuoso keyboardist, multi-instrumentalist, songwriter, producer, longtime member of YES, co-founder of Asia and The Buggles … GEOFF DOWNES.
Ray Shasho: Geoff, thank you for being on the call today, how are you doing man?
Geoff Downes: “I’m good Ray, how are you?”
Ray Shasho: I’m doing fine thank you, are you in LA?
Geoff Downes: “I am, yea, in sunny Cal.”
Ray Shasho: Your most recent solo releases are …New Dance Orchestra -Electronica (2010) featuring you and Anne-Marie Helder (Panic Room). You also released DBA (Downes Braide Association) Pictures of You (2012) with Chris Braide (Producers, Squeeze).
Geoff Downes: “We remastered New Dance Orchestra -Electronica and it was given a full release recently. I’m looking forward to seeing the response from it.”
Ray Shasho: You performed most of the music on Electronica?
Geoff Downes: “That’s all basically me and an approximation of an orchestra using technology. Ann- Marie is a fantastic vocalist. She’s been voted Prog Magazine’s ‘Best Female Vocalist of the Year’ for two years in a row. I first met her when I was doing a project with John Wetton called Icon and she performed on a couple of songs on that. When I had the opportunity to put together that album, I chose her because I knew she would be able to do justice on all the songs.”
Ray Shasho: I’ve always enjoyed the progressive side of Geoff Downes being with Asia and of course YES. But I also enjoy the Pop Music side of Geoff Downes with The Buggles.
Geoff Downes: “The style of playing and style of production from those two albums… Electronica and DBA are very much a Buggles style and very much part of me from the early days. That’s what we really started out doing, me and Trevor Horn, creating songs from technology using synthesizers, so it’s really an extension of that in many ways. The very interesting thing is that Prog music is great and a lot of our roots are in that music, but I wanted to have a diversion and be able to try something different, and I think that was the whole thinking behind those albums, obviously to do something that was not sort of Prog in its direction, but something that was more similar to Pop music.”
Ray Shasho: One of my favorite tracks from New Dance Orchestra -Electronica is “Shine On.”
Geoff Downes: I particularly like “Shine On.” It has elements of the early 80’s Pop but at the same time we tried and break new ground as well.”
Ray Shasho: “Many of the tracks on both albums should be played on mainstream radio. Sadly commercial radio doesn’t seem to care about spotlighting talented musicians and songwriters these days.
Geoff Downes: “It’s all kind of a karaoke. It’s a shame that Pop Music hasn’t got the elements that it had back in the 70’s and 80’s with some fantastic songs being written … I don’t think that’s the case anymore.”
Ray Shasho: Isn’t there anything we can do to try and change mainstream music?
Geoff Downes: “(Laughing) I don’t know. People are now only interested in the vocalist rather than the band. When you think of bands like The Eagles and Abba, they were mainstream Pop and writing fantastic songs while out performing themselves; somehow we’ve seemed to lost that element in the music today.”
Ray Shasho: Mainstream music nowadays has become mostly visual and choreographed.
Geoff Downes: “Video Killed the Radio Star” actually did make that prediction and in many ways that’s what has happened.”
Ray Shasho: I was actually on Top 40 radio when “Video Killed the Radio Star” first hit the airwaves in 1979. Our playlist included an eclectic mix of new music from Blondie to Zeppelin. I also remember playing a very catchy techno tune entitled “Pop Muzik” by a group called M.
Geoff Downes: “Yea, that was about the same time as “Video Killed the Radio Star.” And of course you had all the stuff like Duran Duran and Spandau Ballet which came out around that time as well. So it was a very-very exciting time for music. When you think about the songs that were written in that period, they are the same songs you still hear walking down a shopping mall today. I’m not sure you’ll hear the stuff that’s done recently in 10, 20, 30 years time.”
Ray Shasho: Maybe one solution in bringing back good music to mainstream radio is to bring back payola.
(All laughing)
Geoff Downes: “Yea exactly, at least you’d have a chance.”
Ray Shasho: My favorite track on DBA Pictures of You is definitely… “Ride the Waves.”
Geoff Downes: “I think that was a very interesting collaboration, Chris has had an amazing career. He’s written songs for Britney Spears and Christina Aguilera. He’s got a phenomenal pedigree in working with the X factor people and that kind of thing. His real roots were very much in Pop Music, I remember him saying that the first album he bought was The Buggles The Age of Plastic on vinyl and after that we really struck an accord together. We’ve worked together at different times and developed certain chemistry, so he said I’d really like to do an album with you. So when I was in Europe a couple of years ago we started working on it. It became very natural and it came together very quickly. We were just taking about doing a second album as well, so it should be exciting times.”
Ray Shasho: Geoff, I’d like to chat a little bit about YES. The most recent YES album is entitled Fly from Here… released in 2011 and produced by Trevor Horn.
Geoff Downes: “That’s right and we’re working at the moment on another one. The new album should be released around the summer or just afterwards depending on when the sessions are completed. We started a few weeks ago with producer Roy Thomas Baker who did all the Queen stuff; he’s worked with Aerosmith and all kinds of people. So he’s producing the album. Then we’re off on tour in a couple of month’s time and touring extensively till the end of the year. We start in Canada in the middle of March and that takes us to ‘Cruise to the Edge’ in April which is the second time we’ll be sailing out of Florida again on a Prog Rock cruise, which is pretty interesting. It’s really a dream ticket for any Prog fan because all the ingredients for those early bands like King Crimson, ELP, Genesis, YES … are all there on one boat.”
Ray Shasho: The cruise is going to be incredible! I’ve interviewed a lot of artists that will be performing on the ship including … Steve Hackett (Genesis), Annie Haslam (Renaissance), Tony Levin (Peter Gabriel, King Crimson) and of course Chris Squire and yourself from YES. And it’ll be interesting to have former keyboardist Patrick Moraz (YES, The Moody Blues) there as well.
Geoff Downes: “It’s going to be fun! At the end of the day we’ve all bumped into each other at some stage or another throughout the years. To have everyone in one place is a fantastic thing for fans of all that era and they get to see what everybody is doing now.”
Ray Shasho: I chatted with original and longtime YES lead vocalist Jon Anderson back in August of 2011. Do you ever chat with Jon?
Geoff Downes: “No, I’ve never really had the opportunity to do anything with Jon because any time I’ve been in the band he’s not been in it. I don’t think there’s any acrimony or anything like that …it’s what it is and YES is still ongoing. Jon has a fantastic legacy and is a brilliant artist in his own right.”
Ray Shasho: Vocalist Benoit David was replaced with Jon Davison because of a respiratory illness?
Geoff Downes: “He was having a lot of difficulty with his voice. He wasn’t giving what we thought he should be giving in terms of his performance because his voice wasn’t treating him very well. We had to move on because we had a lot planned.”
Ray Shasho: The other legendary band that you are a member of is of course Asia. Not only will there be a new YES album coming out in 2014, but there will also be a new studio album entitled Gravitas from Asia released this year?
Geoff Downes: “That will be coming out at the end of April. It’s a very-very strong record .It’s a lot more rock than some of the other albums but has all the Asia hallmarks and we’re very pleased with it. We’ve got a few dates coming up in June in the UK and then a Japanese tour.”
Ray Shasho: This will also be the first Asia album featuring new guitarist Sam Coulson who replaces the retiring Steve Howe?
Geoff Downes: “Sam does some great stuff on there. I think it was too much for Steve because he’s got his own separate career as well. He’s also got his three piece band that he does. I think it was too much for him to be doing that band at the same time.”
Ray Shasho: No U.S. dates yet for Asia?
Geoff Downes: “Not yet, I think it’s going to be more like September or October to do some shows across America.”
Ray Shasho: What was the thought process behind the making of “Video Killed the Radio Star” by your first commercially successful group … The Buggles?
Geoff Downes: “Trevor wrote the lyrics. It was inspired by a short story called The Sound-Sweep by writer J.G Ballard. It was all about this boy going around recording studios and sweeping up the sound. That was really what inspired the original lyric … finding a band in the studios and technology playing a big part in people’s lives. “Video Killed the Radio Star” was more of an idea from the title and not a great statement or anything like that. The song is more to do with technology change and the people’s opinions of art. The fascination of when the old guy on the radio didn’t have a job anymore because television had taken over. That could relate to things like when the talkies came out and the silent film stars suddenly became unemployed because their voices weren’t suited to the screen.”
Ray Shasho: Geoff, I didn’t think you were that old where you could remember silent film stars?
(All laughing)
Geoff Downes: “No, I’m not that old yet, I’ve still got a few more albums to go.”
Ray Shasho: I chatted with Ian Gillan (Deep Purple) last year and I wanted to applause all your efforts on the ‘Rock Aid Armenia project.’
Geoff Downes: “Ian did a really great job. I was happy to be invited to that. We’ve managed to do what we set out to do and build a new music school on the site of the earthquake …so eventually it did happen.”
Ray Shasho: I wouldn’t worry too much about the bands snub from The Rock and Roll Hall of Fame. I’m gambling YES gets in next year … that’s usually the pattern, supposedly adding drama.
Geoff Downes: “Prog Music has not been well represented to be honest and hopefully that’s going to change soon.”
Ray Shasho: YES, Jethro Tull, ELP, Deep Purple, King Crimson, The Moody Blues … all bands that should have been inducted years ago.
Geoff Downes: “Those are bands that really laid the foundation for a lot of other bands. Bands like Rush got a lot of their influences from British Prog music …but we’ll see what happens.”
Ray Shasho: Geoff, 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?
Geoff Downes: “I would have to say Sting.”
Ray Shasho: Geoff, thank you so much for being on the call today … but more importantly for all the great music you’ve given us and continue to bring.
Geoff Downes: “Thank you Ray … cheers boy!”

Very special thanks to Ellie Schwartz
Purchase New Dance Orchestra –Electronica on amazon.com
Purchase Pictures of You -DBA by Geoff Downes and Chris Braide on amazon.com
Pre-order Gravitas the brand new Asia album on amazon.com
Geoff Downes official website
Geoff Downes on Facebook
Geoff Downes on Twitter
YES official website
YES on Facebook
YES on Twitter
Asia official website
Asia on Facebook
Asia on Twitter

Coming up NEXT … My interview with the incomparable PETULA CLARK

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 - 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


© Copyright rayshasho.com. All Rights Reserved

If Elvis Presley played swamp rock he’d be Tony Joe White –Interview

By Ray Shasho

-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.

White’s popularity soared in the 90’s with the release of the critically-acclaimed and commercially successful Closer to the Truth album. White attained additional success with subsequent releases … The Path of a Decent Groove and Lake Placid Blues. Tony Joe White toured Europe with Joe Cocker and Eric Clapton. He also opened for Roger Waters in 2006.

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!”

Tony Joe White official website www.tonyjoewhite.com
Tony Joe White tour dates
Purchase Tony Joe White’s latest release Hoodoo at amazon.com
Tony Joe White on Facebook
Tony Joe White on Twitter
Tony Joe White on Myspace

Very special thanks to Jody White

Coming up NEXT…My interview with Geoff Downes legendary keyboardist and songwriter for The Buggles, Asia and YES

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 - 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



© Copyright rayshasho.com. All Rights Reserved