DAVEY PATTISON INTERVIEWS
i HAVE HAD THE PLEASURE OF CONDUCTING TWO INTERVIEWS WITH DAVEY. THE FIRST ONE IS WHEN I JUST GOT STARTED UP AND DAVEY HAD JUST RELEASED HIS FIRST SOLO CD '' MISSISSIPPI NIGHTS'' AND THE SECOND ONE WAS DONE AFTER HIS SECOND SOLO '' PICTURES' WHICH I HAD THE PLEASURE OF GETTING TO KNOW SOME FINE MUSICIANS.
An Interview with Davey Pattison
By Steve Shail
INTRODUCTION :
Imagine being at work and receiving a phone call from your 12 year old daughter asking if it was ok to read an e-mail I had just received, and then after she finishes reading this personable letter, says it's from Davey Pattison! ........ Davey Pattison??? I didn't believe her at first. What could have possible prompted Mr. Davey Pattison to e-mail me??
I was first introduced to his awesome vocal talents back in '86 after I purchased Robin's Trower's latest release "Passion".
I remember picking up the LP (in the grand old days of vinyl ) and immediately checking out who was in the band. Dave Bronze's name was familiar from Robin's previous release "Beyond The Mist", but I was intrigued with the fact that Bronze, who had handled the vocal duties on BTM, was now replaced with someone I was unfamiliar with, Davey Pattison. Pete Thompson on drums was also a name I was not familiar with.
Well, about 30 seconds into "Caroline" I was blown away!
By the time "If Forever " was done my first thought was "This was the Trower sound that I felt had been missing! " After hearing the title track "Passion" I was wondering if it could get any better, and then I heard "No Time". This song has become one of my personal favourites. The
combination of Trower's guitar with Pattison's equally powerful vocals, and the solid backing from Thompson (drums) and Bronze (bass), seemed to bring out the best in Robin's writing and playing and to me this song exemplified that. That total sound Trower had always given us but I think was missing its mark during the Jack Bruce period. I like Jack Bruce but this collaboration seemed to take Robin away from what he does best, write and play Robin Trower music. What was missing, IMO, was, to quote an early Trower song " A voice so sweet and clear " (About To Begin) to allow the guitar to set the atmosphere while the singer tells the story.
Davey filled that gap and more. Here was a voice that was both soulful and powerful and worked well as a partner to Robin's guitar wizardry.
To be perfectly honest, after Jimmy Dewar was out of the line up, I wondered if anyone could ever fill that void.
Davey did more than fill it, he created a sound of his own.
While defining and establishing his place within Robin's music at the time, Davey was also able to satisfy the fans when taking on the unenviable task of doing the "oldies" that helped make Robin Trower. With songs like "Too Rolling Stoned" , "Day Of The Eagle" etc. Davey could do them justice and I think that was important to the die-hards like myself.
And then came "Take What You Need", solidifying Davey's presence with Trower. Songs like "Tear It Up", "Love Attack" and "Over You" followed by the release of "In The Line Of Fire" with "Sea Of Love", "Ev'rybody's Watching You Now" and "All That I Want" both excellent releases.
So, being a respectful admirer of Davey's talents, I was still in a cloud when I got home and re-read that he happened to run across my web page, had just released his first solo album (which I ordered immediately) and that he had delved into the world of the internet with his own page to help promote his release.
After a number of extremely pleasant e-mails were exchanged, I asked Davey if he would like to do an interview for my page and talk about his newest release, and maybe share a tale or two.
So, it is a great privilege and a pleasure to present to you,
Mr. Davey Pattison ..........
<S.S.> First off, I'd like to congratulate you on the release of "Mississippi Nights". I thought the MP3 clips were excellent and I am looking forward to receiving the CD.
<D.P.> Thank you so much. I'm glad you enjoyed them.
<S.S.> How long have you been working on it?
<D.P.> Oh I guess for a couple of years or so.
<S.S.> What made you decide after all these years to do a solo album? What or who helped inspired you?
<D.P.> Well, I had a bunch of songs written and until I actually went into the studio, I would have never known if any of them were any good. For me it takes the input of the musicians to realize the full potential of any project, so basically I went in hearing the finished song in my head, and hoping the musicians would come close to that. They did that and more!
<S.S.> Did you write or co-write any of the songs?
<D.P.> I wrote all the songs.
<S.S.> Tell us a bit about the songs and any comments you would care to share regarding them.
<D.P.> This is a difficult question to answer. I've been dealing with the break-up of a marriage that lasted for almost thirty years, so as it says on
the liner notes, my wife , and what we were going through at the time, were the inspiration behind most of the songs on the album. Not all of them, but anyone who has gone through the ordeal of separation will, I'm sure, be able to relate. Some of the songs were very painful to even record. I don't think I want to say too much more than that.
<S.S.> Who are the musicians playing on it and how did you come about getting together to record?
<D.P.> When I first went into the studio, I had a twelve piece band called Big Muddy. To be honest with you, it was a little self indulgent on my part. I was really trying to put together a Muscle Shoals kind of thing, playing R&B and blues. It sure was a lot of fun. There are three songs on the album from this line up. From Big Muddy, I kept only one guy, slide guitarist Steve Canali. Steve is the kind of guy who I can sit down with an acoustic guitar, play him something I am working on, and he just knows exactly what I'm aiming for. He is fabulous, and also a great guy. He had been playing shows with the Doobie Brothers and introduced me to keyboard player Dale Ockerman who had been with the Doobies for about ten years. Again I found "common ground" with someone who just "knew" where I was trying to go with my songs.
<S.S.> You mentioned on your site bio that you were known mostly as a rock singer because of your connections with Ronnie Montrose and Trower while this CD is definitely more blues and soul oriented music. Are these the sounds that inspired you as a youth growing up in Scotland? Who in particular were you listening to ?
<D.P.> Oh, very much so. I've sung in a lot of "rock" bands in my time, but I think of my whole approach to any song, regardless of "label" as a blues song. I can't think of it any other way. I remember as a little boy being taken to my very first rock and roll show and seeing Little Richard. Man, I was mesmerized!! I had no idea what he was doing, I just knew I was going to find out and do the exact same thing. Richard, in my humble opinion, is the true King of RocK & Roll. After that came Ray Charles, Bobby Bland, Curtis Mayfield, James Brown, Muddy Waters, Howlin' Wolf, God I could go on forever. Lets just say I was like a sponge.!!
<S.S.> How old were you when you realized that you loved to sing and that people started to listen with interest?
<D.P.> I would be about five or six. When I first went to school, they had a choir for church services and I was the little guy doing all the solo's out front. Never really thought about it at the time of course. Rehearsals got me out of Math!!
< S.S.> Where exactly did you grow up?
<D.P.> I grew up in Glasgow, Scotland. Very much in a working class family. I have two sisters who still live there, unfortunately my parents are both gone.
<S.S.> I'm sorry to hear that. You left Scotland in 1979 to sing with Ronnie Montrose in Gamma at the request of the late Bill Graham. How did that come about and how did they hear about you?
<D.P.> Good question. I had been in London working with Matthew Fisher (ex Procol Harum member, producer of three Trower albums and also Jimmy Dewar's solo release) on an album, and staying at Jimmy Dewar's house. I've known Jimmy since the early sixties, and he passed on a tape of the album to Ronnie Montrose. I guess he liked what he heard, cause I got the call from Bill Graham asking me to fly to California. Ronnie and I started to write together, and the first Gamma record was recorded.
<S.S.> Was this your first time in North America?
<D.P.> Yes, I had played a bit in Europe, but had never been to America.
<S.S.> So after a successful three albums with Gamma the band went there separate ways and you found yourself doing what?
<D.P.> After Gamma split up I put a band together, started writing some songs. At this time I also got into singing on commercials. Did work for Sprint, Mattel, Coke and even got to work on one for Taco Bell with the man who got me started in the first place, Little Richard! It was a big thrill. At this time I was doing a lot of work with my friend John Rewind, we were coming up with a lot of songs at his studio in Mill Valley Ca.
<S.S.> And then, to quote you, you were "..... approached by your 'old friend' Robin Trower" who wanted your help on his next album "Passion". How long have you known Robin and where did you first meet?
<D.P.> Yes, I was actually swimming in the pool with some of the guys in my band when the phone rang. It was Robin, who asked me if I would be
interested in singing on the upcoming "Passion" album. At that time I can't say that I knew Robin VERY well, I had met him a few times through my friendship with Jimmy Dewar. I think the first time I actually talked to him was after a show at the Apollo Theatre in Glasgow. Met him again a few times in London. Robin also knew my friend John Rewind, who gave him a copy of some of the songs we had been working on. I guess he liked it, hence the call.
<S.S.> Well, a big thanks to John Rewind. Now you know we have to get into your tenure with Robin because that's who basically introduced you to a good percentage of us. In one of our e-mails you mentioned that you do keep in touch with Robin. Can you tell us what has he been up to lately?
<D.P.> I don't hear from him much. If he is in the San Francisco area he always calls, and I always get a card at Xmas. I think at the moment he is working on a new album.
<S.S.> How familiar with his music were you prior to your playing together?
<D.P.> Oh, very. Mainly at that time because Jimmy and I were friends.
<S.S.> We are all fans of the great James Dewar, who is one of the greatest vocalists I have ever heard.
<D.P.> As I said earlier, I've known Jimmy since the sixties. James Dewar is the best white rock and roll singer I have ever heard in my life. He turned me on to a lot of great music in the early days. There was this little bar in Glasgow called "Burns Cottage", and I was just starting out, playing there five nights a week with a bar band playing cover songs, top forty kind of thing. On a Saturday afternoon though they had a band that was drawing every good musician in town, bit of a jam session. This is where I met Jimmy, (this would be around 1965 or so) who was playing bass and doing some of the singing. Frankie Miller was there , Maggie Bell was there, the late Leslie Harvey (both of whom later worked with Jimmy in a band called " Stone the Crows"). We would all go to Jimmy's house after the gig and we would listen to all this great music, Solomon Burke, Brooke Benton, Bobby Bland. The guitars would always come out and we would be singing away, man we had so much fun. Everybody was broke, but I tell you, I look back at those days as some of the best of my life. I will always be grateful to Jimmy for all the help he offered me. Bill Lordan also was a very good friend. I think it may have been Bill who actually gave my "Matthew Fisher" tape to Bill Graham. Thanks Bill, and if you read this, give me a call.
Note : While Davey and I were doing the interview I got hold of Bill and they did get together and since that time have remained in close touch with each other. Davey has since sang on a few tracks for Bill Lordans upcoming release.
<S.S.> A few people are unaware of what happened to Jimmy Dewar. What can you tell us about him?
<D.P.> As far as I know, Jimmy had a stroke, was getting treatment in the hospital, but then suffered another one. I was going to go see him when I was in Scotland last year, but was advised by my friends that he would not know who I was. I didn't want to see him like that, so I didn't go. I choose to remember my friend as the man who saw something in me, and tried to help in any way he could.
(note) Just on the off chance that Jimmy's family may see this, I just want to say that his voice was an inspiration to all who heard it. And that a lot of people I talk to, from all over the world, send their most sincere best wishes to Jimmy's family. He is not forgotten.
Since doing this interview, and thanks to a mutual friend of Jimmy's and Davey's, we have been in touch with Jimmy and you can read about it by going to the Dewar interview.
Davey is also making a trip back home in May 2002 adn has made arrangements to go visit his old friend.
<S.S.> Davey, one question that was sent to me for this interview was if you remember going into the first session with Robin, what was it like? What songs did you run through? And what were Robin's and your initial reactions to your first time playing together?
<D.P.> I arrived at this rehearsal studio just outside London, jet lagged out of my mind, and I remember that the first thing we did, in true British fashion, was to have a cup of tea!! We immediately started putting some rough demos together of what would be the "Passion" album. As far as initial reaction, nothing much had to be said, because everyone there just knew this was going to be a great band.
< S.S.> I have heard a lot of shows from the "Passion" and "Take What You Need" tours. The live shows were fantastic. Do you recall any particular shows or incidents that were memorable for you while on tour with Robin?
<D.P.> To be honest with you, I don't really. That band was so consistent. Every night was different, some nights of course were better than others, and when it was really "on", man it got very "deep".
<S.S.> On a couple of the live tapes I have when you were introducing the band you used the line "And the wonderful Mr. Dave Bronze". How did this moniker start?
<D.P.> Dave Bronze was and is a practical joker. I remember a night off in Seattle when we were in the bar of our hotel having a couple of drinks with our promoter Dan Ravisto. I don't drink hard liquor although I'd be the first to tell you that I do enjoy a few beers. Dave was tipping the bartender to spike my beers with vodka!! The "Wonderful" was something I said every night.
<S.S.> Around 1990-91 while on tour you performed a few songs that never made it to the studio, "Welcome To Reality", "Where I'm Getting To" and "Dreams Come True" are three that come to mind. It is a shame these were never released as they are all great songs.
<D.P.> Yeah I remember those songs. I really liked "Dreams Come True." I think I still have the demos somewhere.
<S.S.> The song "Whisper Up A Storm" was originally done by you quite differently than the release on "20th Century Blues". I loved the spacier
version. Perhaps we have enough material here to encourage a reunion with Rob to release another album. :o)
<D.P.> I certainly remember "my" version of that song, but I would be lying to you if I told you I have heard "20th Century Blues", because I haven't. As far as a reunion is concerned all I can say is this. I miss Robin both musically and personally, but the music business is in such a mess now I doubt if finances would allow it. Saying that, I would love to do it.
<S.S.> After the release of "Best Of Gamma" you went on tour with Ronnie Montrose to promote it. How did a show with Gamma differ from a show with Trower?
<D.P.> Performing with Gamma was very high energy. The songs demanded that. The shows with Robin were high energy too, but in a very controlled kind of way. Gamma hit you over the head, Robin massaged the heart.
<S.S.> Was your time performing with Robin always intended to be a short term thing or were there plans to get back after the tour with Gamma was
completed?
<D.P.> No, when I joined Robin I had no plans to go anywhere. I was asked to do "20th Century Blues" but I was committed to touring with Gamma and couldn't do it when they wanted me to. A pity because I wanted to do it.
<S.S.> Robin was once quoted referring to you as a "gift from God". And you mentioned in an e-mail to me referring to Robin as "the most soulful guitar player alive today". This brings me to the question that was predominantly mentioned for me to ask, is there a possibility of another collaboration between yourself and Mr. Trower?
<D.P.> That's a lovely compliment. I like to think that I contributed to the vision that he had for his music. Hey, I hear he is doing some singing himself now!! If it could be worked out, I would love to work with him again.
<S.S.> Who is Caroline? ( from the Passion album)
<D.P.> You know Steve, I have no idea.
<S.S.> What was the song you enjoyed performing the most when on stage with Robin? Why?
<D.P.> I always enjoyed "No Time", and "Rock Me Baby" was always a lot of fun because I could have the audience sing along.
<S.S.> If you were in a nostalgic mood and wanted to listen to something you did with Robin, what songs would you put on?
<D.P.> You know, I tend not to listen to my old albums. I'm thinking about what's next. From my days with Robin, I guess my favourites would be "If
Forever" and "No Time".
<S.S.> How about Gamma songs?
<D.P.> From the Gamma days, "Voyager" and "Razor King" come to mind, and I always loved "Wish I Was".
<S.S.> Were there any songs from Robin's earlier releases that you would have liked to have done on tour?
<D.P.> I always wanted to do "Hannah" and " In This Place". Never got around to it.
<S.S.> I saw on your site a picture of you with Al Hendrix (Jimi's father). How did you happen to meet him and were you a Hendrix fan? Did you ever see him perform live?
<D.P.> Al came to see us every time we played in Seattle. A very nice man. Yes, I saw Jimi on his very first tour in Glasgow. He was opening for someone, can't remember who.
<S.S.> Speaking of Jimi what were your thoughts when you heard the endless comparisons between Rob's playing and Hendrix's style?
<D.P.> Anyone making those comments hasn't really listened to either of them.
<S.S.> I am glad to hear you say that. A very true statement. You had been playing with a band called Big Muddy, I heard some clips from the site that was up and liked what I heard. Did you release any recordings with this band?
<D.P.> Just the three songs I mentioned earlier that are on "Mississippi Nights" with the "Big Muddy" line up.
<S.S.> If you could sing with any band or anyone, past or present, who would it be and why ?
<D.P.> I was always a big fan of "The Band" and a lot of what "Little Feat" were doing really appealed to me. Something so "real" about the way both bands approached the music. Very very American music. America is, after all, the birthplace of Rock and Roll.
<S.S.> As a musician, I have had conflicting thoughts regarding the trading of "bootleg" recordings of live shows for the usual reasons of the artist not seeing any residuals from them, but as I have said to others who do this, that if I had not been able to hear these I would have missed the real talents of all the musicians involved. I always thought that Trower was an exceptional guitarist, I had every available release, but his true mastery is lost if you only hear the professional recordings. I often say to people, if "Too Rolling Stoned " or "No Time" is one of your favourite songs, imagine having five versions, each just a bit different from the others but still all performed by Pattison/Trower! As a guitarist, I could not pass up the opportunity to hear these once in a lifetime recordings. I would gladly send the royalty portion to the artists. I have found that the quality is not that important to the real fans who just want to enjoy a great bit of music. This thinking seems to be universal in the trading groups. As a performer, what do you think about the trading or sharing of these bootleg recordings?
<D.P.> I have absolutely no problem with anyone trading tapes of "live" shows that have been recorded off the radio etc. I do , however , have a real problem with the people that are releasing entire studio albums on the internet for all and sundry to download for free. THIS IS NOT COOL PEOPLE. I wonder how they would feel if they did a hard weeks work to be told when they go to collect their wages that the boss gave away their money to a complete stranger.!!! No, it is not cool.
<S.S.> So when your relaxing at home, what do you like to do with your time? Any hobbies?
<D.P.> Hobbies. I never in a million years would have thought that I, of all people, would love this internet thing. But I do. I'm famous amongst my
friends for being anti technology, but the internet has shown me that it is not all bad. I've been "talking" to people I haven't seen in thirty years. This can't be a bad thing. I also made a new friend in Canada named Steve Shail. I'm also having a "guest book" section added to my web site, and I am looking forward to hearing from fans (provided there are any out there).
<S.S.> Now that your CD is out, are you planning to go on the road with it? What are your plans for the future?
<D.P.> I am in the process of rehearsing a new band at the moment. I would love to tour, but a lot depends on the reaction to "Mississippi Nights". If there is a demand to see "live" what I'm doing, then hopefully we can put it together.
<S.S.> Davey, I would like to thank you for taking the time to make this interview possible. I know that a lot of people will enjoy learning more about you. For me personally, it has been a real pleasure getting to know you and talking to you. I know I speak for all of us in wishing you good health, much happiness and success in all your future endeavours.
<D.P.> Thank you very much Steve, God bless.
If you haven't checked out Davey's site and ordered this CD, I strongly suggest you get right on it. Listen to the clips, this is great stuff. I truly believe we should support the real talents that are out there who have provided us with such great music but are often overlooked because they don't have huge record labels promoting them with videos and the like. And who loses if they don't get the airplay and visibility? We do!
During the process of doing this interview, I had a great time conversing back and forth with Davey. He really is one of the nicest people you could ever want to meet. I was totally impressed with his openness and willingness to help me do this interview and to turn around a quote of his, " I have made a new friend and his name is Davey Pattison!"
Thanks Davey.
This interview is about Davey's latest cd, "Pictures" and what he has put into it.
It also involves the friends who worked with Davey on this project, and the immense
struggle it took to simply get it out there.
When we started talking about this interview many months ago, Davey voiced his
opinions about how frustrated he was with the music business and he kept saying
that this, in all likelihood, would be his last cd. His honesty, openness and his
willingness to share his feelings regarding the music business were topics of
numerous discussions we have had. I therefore offered this interview as a forum
to voice some of that frustration.
I would like to thank the following people for their assistance with this interview:
John Rewind, Steve Canali, Dale Ockerman, Pete Sears, Jimmy Sanchez,
Pam Torres, Joy Pattison and Brian Denniston.
Steve: I have to tell you, I have been really looking forward to doing this interview
with you. The release of this cd has been a long time coming.
Davey: Hello Steve, it feels good to be doing this again. We have become good mates
in the past few years. I really do need to sit down with you face to face, have
a few beers, get a couple of guitars out, and see what you have got mate!!!!
Yes. It has been almost four years since, "Mississippi Night's". I am certainly
not a "prolific" songwriter!! In fact, when it comes to writing songs, I consider
myself a bit of an amateur really. I'm just trying, as always, to be true to what
I consider to be honest. To be truthful with you, I had absolutely no plans
to do another album. The state that the music business finds itself in, almost
totally turned me off really, 'cos I am frankly appalled at what I see. I saw no
reason to put myself through the turmoil of what it takes to put an album
together. It is an incredible amount of work. (John) Rewind made it virtually
impossible for me to turn down the opportunity to record what I had at the
time, offering me virtually unlimited studio time. John and I have been friends
for twenty years now, he has a very cool studio, he thinks about music the same
way I do. We are both very much "students" of the "less is more" school.
"Pictures" is as much John's, as it is mine really.
John Rewind: Davey called me up to help him finish a cd that he had been recording
all over the place. We recorded 6 of the 9 tracks here at my studio and
felt that "click" that we had experienced in the past. That led to us
doing "Pictures", as a heartfelt collaboration from the start. We just
wanted to really get down to business and do a cd we could be proud of,
take our time, and get it as good as we could, without taking the rest of
our lives to do it.
Steve: As you said, the title of this new cd is, "Pictures". A fitting title for a cd that is
very reflective of what Davey Pattison is willing to share of himself.
Davey: Funny story about that really. Colin Birdseye (one of my very closest friends
and the guy who did all the artwork on both this album, and the last one) and
his wife, Shelly, visited me soon after I bought the house that I now live in. I had
boxes and boxes of pictures, and I kind of had a problem finding room for them
all, so I decided to get some of them framed and put them all up on one wall.
Shelly walked into the living room and, I'll never forget this, she said, "My God
Davey, your whole life is up there on that wall !!" The lovely Shelly got me
started on writing the song, "Pictures", with that statement. Thank you dear!!
Having written that one, it was really a question of what I was really willing to
share with people who might perhaps buy this album. I wanted to write songs
that got a lot of shit out of my system once and for all, and that people who
perhaps have been in the same situation that I found myself in, could relate to.
Steve: Was it your idea to show the picture of yourself as a little boy on the front
and back covers?
Davey: No it was Colin's idea. He came up to the house, had a look around at what
I had, took some stuff away with him, and came up with what I really think is a
brilliant concept. I first met Colin twenty odd years ago. He was the guy
designing tee shirts at Winterland Productions which was owned by "Gamma"
manager Bill Graham. Colin Birdesye designed tee shirts for pretty much every
act that Bill Graham Presents was promoting tour wise. They probably made
millions of dollars from his work, he got a basic salary!!!!! Welcome to rock and
roll!!!!!
Steve: Is this newest collection of material a continuation of your first cd,
'Mississippi Nights'? Were these songs already in progress, or did the songs
come about during a different point in time?
Davey: I can't say that it's a continuation Steve. Some of it was written about three
years ago when I wasn't feeling too good about myself. "Life" for me has come
a long way since John and I started putting this all together. Some of it came
afterwards. The songs that came from the time I was having big problems,
were shelved, because I wasn't sure if I wanted that amount of pain exposed
to the whole world. However, I could not simply ignore what I considered to be
good songs because things had got better for me. A good song is a good
song. Simply put, I needed to get all of that stuff out of my system, but still
retain a semblance of being in control of myself. As I have said earlier, I was not
planning on doing another album, but I kept writing anyway, 'cos hey, that's what
I do!!! So to answer your question I would say that the songs took a while
to develop.
On writing the songs
When Davey was first working on this cd, he sent me a tape of some very rough versions of the songs. Guitar, drum machine, piano.. very raw. He asked for an opinion. After listening to the songs a number of times, I wrote Davey and told him what I got out of listening to them... where I felt he was going. A unique situation for someone to critique a friend's music, knowing them outside the music business. His response to me (not knowing at the time, that it might be used in this interview but now, with his consent) was very interesting... an insight into what goes on when Davey is writing....
""Thank you so much for the kind words, and yes, you are right, this album is very much, my story. I didn't write all of the songs, but I have chosen the ones written by others, to try to convey something to the people who will listen to this eventually. I started out with my own songs, and found others that "said" what I wanted to say, in the hope of giving people a glimpse of who I am. To me Steve, music HAS to be passionate and above all, honest. If that means "wearing ones heart on ones sleeve", then that is fine by me. God knows, I am not the only person on this planet to have been hurt, so the hope is that many people will be able to relate to these songs in a kind of therapeutic way. I am well aware that on this album, and the last one too come to that, I have put myself out on the "washing line" for the world to inspect, with a lot of the songs I either write or record, and to be honest with you, I am quite willing to share both happiness and sadness with people, 'cos at the end of the day, that is what music is supposed to be, a vehicle for the soul to express itself. This all may sound somewhat "pompous" or "pretentious", but to me the pompous and pretentious ones are the ones who DON'T let you see into their hearts! That is what I loved about my tenure with Robin, there was always honesty and passion. Every single night we played for those people, they got ALL we had to give them. I miss it to this day.""
(note: this was written to me months before Davey and Robin started to talk about
working together again)
Steve: For the few songs you record on this cd that were written by others, how did
you choose from the many acquired?
Davey: First of all, I was friends with the people who wrote these songs, so they kind
of knew what I was after. I was an admirer of Joe New and his songs. He has
written for John Mellencamp, Levon Helm (who I worked with on one of Pete
Sears' songs for "The Long Haul album) Kiki Dee, and Asleep at the Wheel,
and many others, so Joe is an already established writer.
Valerie Lawrence, wrote "I'm the Only One" at a song writing class she was taking
where she was asked to write a love song that did not contain the word "love".
Valere had worked on an album produced by Bonnie Hayes. Bonnie is herself
an accomplished writer having written for Bonnie Raitt amongst others.
Again, John and I did a version of it years ago, so the songs I decided to do
were kinda on a "wish list" if you know what I mean.
Steve: Have you found that your personal stability has gone say, in tandem with your
most creative period?
Davey: Well, what I have found myself doing, and I didn't even realize I was doing it at
the time, I was actually going through a process of self examination, taking
a very close look at how I was living my life. For years and years I think I was
so deeply involved in what I was doing musically, there was little or no room for
anything else. I was completely one dimensional. Music completely took up
every waking hour. So it is in reality, my "personal instability" that has inspired
my most creative periods. I am now trying hard to live a life that includes more
than just music. It is hard to explain Steve. I would sit watching TV for
instance, something would come into my head, and for the next few day's I
wouldn't say a word to anyone around me. I would get so focused on an idea
for a song that nothing else mattered. Not exactly conducive to a stable
relationship!!!!
Pam Torres: Well when Davey is on a roll as far as writing is concerned, it really consumes
him Steve. It is almost as if he is in another world really. He is so focused... almost to FR ustration at times
(for me I mean). Luckily I realize where he is at, and leave him be.
Steve: Do you ever set aside a particular time to work on material, or is it always more
of the inspirational moment when you feel the desire to write?
Davey: No I can't work like that. I usually get into writing immediately after a gig. I will
come home having thought of something, and in the past, stay up all night if I
have to, to get it started. However, as I have said, I am trying to stop doing
that!! There is more to life than rock and roll. Can't believe I just said that!!!!!!
Steve: If you were to put a music video out from this release, what song would you
want to do? Why? And what would it look like? (I think I know the answer to
this one already :o) )
Davey: I don't think I would do one mate!!! My songs would not have the required
number of naked, nubile young ladies gyrating around in it, and I don't own an
oversize Niki suit with optional over the top jewelry, or wear a hat backwards.
This is just my opinion, but music video to me has been the ruination of the art
of making music. Record companies these day's are not too concerned about
the actual music itself, they are thinking about what kind of video they can get
out of a song.
I have only ever made one actual video for MTV, and thankfully not too many
people saw the damn thing, 'cos it was one of the most embarrassing day's of
my life!! It was a song called, "Turn the volume Up", from, "In the Line of Fire".
(wrong choice, but that's only my opinion. "Sea of Love" would have been my
choice). They had us on this "raft" thing on the canal area in Venice California,
being pushed along by this geezer with a long pole. Robin and I kept looking at
one another and bursting out laughing, I guess we were wondering what the hell
we were doing there in the first place, 'cos this is NOT what we do!!!!! No
disrespect to anyone, but I really think Robin and I were both uncomfortable
with the whole thing. During the shoot, Keith Reid kept running up to me and
telling me that it didn't look as though I was even singing. Well the problem was
that I can't for the life of me "Lip Sync". I can't sing the same thing twice, 'cos
I can't ever remember what I sang the first time, so I guess it was looking all out
of sync !!!. The poor director didn't say much to me about it, but I could tell by
the look on his face that he wasn't too thrilled with my efforts. Once again, I
miserably failed the audition!. It was a day I wont forget in a long time.
Hopefully, never to be repeated.
The Songs
Married To The Blues
Written by Joe New - John Rewind
Steve: This song really talks about the drive that all musicians or artists seem to
have..... that no matter what else is in front of them, it is the music that is
foremost on their minds and in their hearts. When Sue (my wife) read my
thoughts on this song, she said she got something completely different from it.
When you first heard this tune, what did it say to you?
Davey: "Married to the Blues" is one of Joe's songs, and I think John had a hand in it
too. What I got from it was kind of what I was saying earlier about music getting
a hold of you to the point where nothing else matters. Once it gets in your
blood, it completely takes over ones life. Well it did me anyway. John and I
actually did a version of this song years ago just for fun, so it had been around
us for a while.
Wish
Written by Davey Pattison - John Rewind
Steve: This is a very pretty song. I found myself humming this song a lot.
Davey: I think "Wish" is the best song I have ever written myself. As I say, I don't really
consider myself a "real" songwriter, but even if I say so myself, I am proud of
that one.
I'm The Only One
written by Valerie Lawrence
Steve: This song is very powerful, very emotional.
Davey: I was at John's house a few years ago and he was flipping through some songs
he had been recording and I heard "I'm the Only One," and immediately fell
completely in love with it. I think it is probably my favorite song on this album.
The first time I heard this song I just knew I had to do it. I had no choice!!!
If someone like Celine Dion or Whitney Houston did this song it would be a
huge hit in my opinion. I would love to see that happen 'cos Valerie deserves
the credit for writing a beautiful and very moving piece of music.
Sadly Valerie passed away a few months ago, but she did hear my version of
her song and I know she was very happy with the results. God Bless Her.
Gypsy Woman Got The Blues
Written by Joe New
Davey: I had never heard this song until Joe came down to the studio and played it to
me. I loved it right away as it reminded me of when I was a little boy. I used to love
those old movies with the likes of a young Burt Lancaster or Anthony Quinn.
(I still do!!!) I can just picture Rita Hayward as a gypsy woman who has the
blues. John I think, did a really great job putting this track together.
Pictures
Written by Davey Pattison - Pam Torres
The chorus goes;
"I got a picture of Jimi's daddy and me
Another one with ol' John Lee
Sometimes I wonder
what became of me"
Steve: A very reflective song and being the title track, is very descriptive of what
this cd is all about. I remember looking through your web page for the first
time and looking at some of the pictures, like the one with Al Hendrix and
John Lee Hooker and you knew that these moments were personally very
important to you.
Davey: "Pictures" as I have said, was inspired by Shelly Hunter. It took me a long time
to finish the damn thing, 'cos there was a lot I wanted to say, but just couldn't
get it all "out"! My whole life I wanted to come to America, record albums in
L.A. etc. etc. When I first arrived in the U.S, the first Gamma album was to be
done there, so I was in 7th heaven at the thought. I was down there for a couple
of months, and I have to say, that although I met many very nice people, I had a
difficult time dealing with the L.A scene.
Steve: ... this song is not only about the story of your "dream" of making it in
America, but how things are not always as they seem.
Davey: "Pictures" is my sister Joy's favorite song from this album. To me it was just a
wee walk down Memory Lane thinking about all the expectations I had about
living and working in the U.S. I had no expectations or desire really to be a
"rock star", in fact I wasn't really interested in that at all, and my position on it
hasn't changed at all. I just wanted to play music with people who knew more
about American Music than I did, and hopefully get better at what I do, but it
didn't really work out that way 'cos I knew a lot more about the blues than they
did!!!! They had gotten it all from Eric Clapton, Jeff Beck and Jimmy Page.
I knew all about Muddy, Wolf, John Lee, Ray Charles etc. etc., and was
surprised to see that they hadn't gone to the "source" When I first arrived here
I was like a fish out of water. 20,000 seat gigs, signing autographs, radio
interviews, the press. People wanting to have a picture taken with me and all that
bullshit really kind of bowled me over. I was grateful for the guy's in Gamma 'cos
they saw I wasn't very comfortable with any of it. I'm just a wee guy from the
slums of Glasgow, and sure, you can take me out of Glasgow, but you can't
take Glasgow out of me.
Steve: You were friends with John Lee Hooker and he was with you on Pete Sears'
cd, "The Long Haul". When you look back at the pictures of when you
first met, do you remember what you were thinking meeting such an icon of
the blues?
Davey: Well I could not say I was a "friend" really. Actually I first met him in Montreal
when on the road with Robin. We were checking in to the hotel and John was
too. I think Robin introduced me to him, and I sat and chatted with him for a
bit. John as I later found out, just loved the ladies, and had some young blonde
girl hanging on his arm!!!! To be honest, I was in awe of this man!!!! I have been
listening to his music all my life, and he was definitely one of my hero's. I think
Dave (Bronze) and I went along to catch a bit of John's show before going on
to our gig. He lived here in the San Francisco Bay Area, so I would run into him
from time to time, and I really enjoyed our conversations. He was such a nice,
humble man, and I think he was really bemused by the success he had late in his
life. He would sit there and grin at all these people running around waiting on him
hand and foot, making sure everything was to his liking, 'cos he told me one night
that he had spent 50 years playing what he called the "chitlin' circuit". To
actually be on an album with him with Pete's, "Long Haul", was one of the
highlights of my life.
Steve: There is also references to your time with Robin and Ronnie Montrose in
the lyrics.....
Davey: I'm referring to the years on the road here. I have been so very fortunate to
have been given the opportunity to be recording and touring with some of
the best musicians in the world. The lyrics of "Pictures" you are referring to
are... "Down the road with the Voyager,
and over the Bridge of Sighs a few times or more"
Just memories really.
Judas
Written by Davey Pattison
Steve: Well this one pretty much speaks for itself. This was probably the most angry
song you have ever written. You got hurt and were lashing out.
Davey: Not so angry anymore Steve, because I have moved on with my life, but at
the time of writing this song, the word "angry" or "hurt" could not have come
close to describing my feelings. "Judas" was one of those songs that I HAD
to sing 'cos it was the only way for me to vent!!
Steve: What is the sound that sounds like a didjeridoo from the Australian
outback? What a wild sound! Who came up with that?
Davey: That is exactly what it is. I don't know if either of us were spelling this right,
but it is a didgeridoo. I have just been informed by the lovely Pam that this is the
correct spelling. It is of course an Australian Aborigine instrument and a 'sound'
I have been just dying to use for many years now. So dark, so venomous!!
Perfect for "Judas". It turned out that the guy who owned the studio that John
was mixing this album at, had these instruments in every key!!! My thanks to
Randy Rood.
Steve: Who were the back-up singers? They did an excellent job.
Davey: On "Judas" there was Loralee Christensen, and my old pal Mike Duke doing
the "gospel choir" Mike used to play keyboards for Delbert McClinton, and
believe me, is a great singer in his own right. Loralee is just fabulous, comes in,
hears the song, and asks how many harmonies we want !!! I first met her years
ago when I was doing vocals for commercials. Loralee is someone who is so
talented, and certainly deserves a solo career.
Waitin' As fast As I Can
Written by Davey Pattison - John Rewind
Steve: This was a "last minute" addition to the cd.
Davey: We kind of thought that the album could use another "up" song. John had
the music, and I came up with lyrics with a bit of help from Pam. Steve was
unavailable at the time, so John played all the guitar parts, and did a good job
on slide I think.
Born To The House Of Blues
Written by Pam Torres - John Rewind
Steve: The vocals on this have some incredible mixing being done with the voice
being distorted in spots...... I love this...
Davey: "Born to the house of blues" was actually written by John and my girlfriend
Pam. She sent me this email, telling me she was "doodling" around with some
lyrics. I flipped out when I read what she had written, 'cos she had never written
a song in her life!! Basically what she is saying here is that one doesn't have to
be a black man from Mississippi to sing the blues. I'm not sure I entirely agree
with that sentiment, but it sure made for a great song. Pam actually disagrees
with my thinking here, but the concept of a white guy singing blues songs
doesn't really ring "true" to me, and regardless of what might be said in print,
black musicians are not too thrilled with white people playing and singing
THEIR music. They will "suffer quietly" to get exposure for themselves by
playing with famous white musicians, but I don't think they enjoy the experience
too much. Just my personal opinion. However, there is a fabulous quote on
the sleeve of this album from Rufus Thomas. He said in 1973, "It ain't where
ya come from, it's what you is where you at"!!!
So perhaps I am wrong and there is hope for me yet!!!
The mixing you refer to came by way of me overamping the microphone during
the recording of the vocals. We were going to redo the vocals, but John and
Randy really liked the "performance", so they came up with this idea of running
the distorted parts of the vocal through a guitar amp, thus giving the impression
of that old vocal sound on a lot of early blues records.
Pam: On that song Davey and I were actually working on another song and he
wrote something and I added to it, but it didn't fit the song at all. So I got on
a roll with it and then emailed what I came up with to Davey who in turn emailed
it to Rewind. They liked it and asked if I could add some more, so I did.
Hollywood
Written by Davey Pattison
Steve: This is one of my favorite songs on the cd. You told me a funny story
about how this song came about. Please share it again.
Davey: "Hollywood" is just me poking a little fun at that whole "Sunset Blvd." thing.
I was doing some work down there with Anysley Dunbar and we were going out
for dinner when we ran into Keith Emerson who was a pal of Aynsley's. We
went to this place called the Rainbow Room on Sunset, and as I have said
earlier, I have always shied away from these kinds of places, but we went
anyway. Now I have been in a few "meat market's" in my time mate, but
NOTHING compares to this joint!!! As long as you are famous that is!!!!
Stunningly beautiful women walking in circles trying to catch the eye of
someone they think is famous. I thought it was hilarious!!
Just Who You Are
Written By Davey Pattison
Steve: The lyrics go; ... and there's' a song to sing
about most everything,
And the good ones always seem to break your heart,
So at the end of the day
get on your knees and pray
Thank the Lord for being just who you are.
Davey: "Just who you are" was one of the first songs I wrote for this album. It kind of
refers to my one time "obsession" with music, and the price one pays for taking
things too much for granted. It also say's of course that one should be grateful
for what one receives. I really like this one, and Jim Rothermel gave it that
"Drown in my own tears" vibe with that wonderful sax solo.
Mr. Henpecked
Written by John Rewind
Steve: A real tongue in cheek song written about a guy who wants to play music
but the misses won't let him!
Davey: This is the Rewind I know and love at his cynical best!!! He played me this
song back when I first met him in the mid eighties, and we have recorded it a
few times now. John has a really cool cynical sense of humor, and can always
be relied upon to come up with a humorous anecdote to every problem facing
mankind. Funny as hell. I think every musician out there will know at least ONE
guy who has a wife or girlfriend who is not happy that their significant other is
playing in a band. It was also very cool to have Ziggy play drums on this one.
The Meters were one of my favorite bands. Now you asked earlier about a
video? Now what a video could be made out of THIS song!!!!
John Lee, Jimmy Reed, And Mississippi Fred
Written by Joe New - John Rewind
Davey: It's really a "tip of the hat" to all the guy's who were such an influence on me
when I was young. John plays a really cool raunchy rhythm guitar part on this
that really reminds me of Otis Rush a bit.
Blues At My Window
Written by Jack Benedetto
(a friend and former guitar student of John Rewind's)
Davey: "Blues at my Window" to me is a San Francisco Bay song. The boats out on
the Bay etc. If I had my choice with this one, Pete (Sears) and I would have
done it "live" someplace. I think the atmosphere of a smoky little bar, people
talking, glasses clinking etc. would have been just perfect for it. It is a "back
porch" kind of thing with just two guys sitting around, having a beer, and playing
some songs together. Pete and I had a lot of fun with that one.
Wild Mountain Thyme
Arrangement by Steve Canali - Davey Pattison
Steve: Here' a real Scottish ballad for ya....
Davey: "Wild Mountain Thyme" is a song I have known all my life of course. I wanted
to put a "twist" on it though by having Steve (Canali) play slide guitar on it,
and I'm sincerely hoping my ancestors are not too unhappy with me for doing
that to a song that is at least 300 years old!!!! I now call it "Scottish Blues!!!!
I also really wanted to do a song for my dear Aunt Nell who is now in her 80's.
I played it to her last time I was over there and got very emotional when I saw
tears in her eyes as she sat listening to it. It is a song of "farewell" so seemed
an appropriate way to end the album with.
The Musicians
Steve: I want to thank you for putting me in touch with some of the band members.
Besides collaborating with these very impressive musicians, there was an
amazing sense of friendship between you all and a willingness to help as much
as possible. A great bunch of guys! It was such a treat for me to talk to most
of these guys on the phone.
Davey: The absolute best!! There is nothing I wouldn't do for any of these guy's.
We all find ourselves in the same boat really. Pete, Dale, Steve, Jimmy, David
Hayes all played for little or no money. By way of thanks, I have sung on Pete's,
and a couple of songs on something Dale is putting together right now. It's the
only way to get anything done. I will sing for any of those guys for free at any
time. I was talking to Robin the other day on the phone, and I was saying I kind
of felt like one of those musicians who played with the big bands of the 40's
and 50's. Everything is going along just fine, then all of a sudden along comes
Presley, and I am out of work overnight!! This is the way it seems to be for all
of the people who played on this album, and so many of my friends. Perhaps
we are just a bunch of dinosaurs who have had our "day' in the sun", and
perhaps we should just move over for the next breed, but it is nevertheless
frustrating, because I think we all feel that we still have a lot to offer. It is
tragic that so many fine musicians who have spent their lives trying to be the
best they can be, find themselves trying to compete in a business that has
seemingly no need for talented people any longer.
Steve Canali plays slide guitar on this cd. Steve also played on Davey's first solo release
Mississippi Nights. He has played with Gregg Allman and also The Doobie Brothers.
Dale Ockerman plays keyboards and was with the Doobie Brothers for eight years,
Quicksilver Messenger Service, Zigaboo Modeliste, Bill Champlin,
Rita Coolidge, and Jerry Miller.
John Rewind (Hoodoo Rhythm Devils) who co-wrote a number of tunes also plays guitar and
produced this cd and Davey's first release.
John owns Rear Window Studios
Pete Sears, keyboards. Davey has played with Pete on "The Long Haul".
Played with the likes of Hot Tuna, Jefferson Starship, Rod Stewart,
Quicksilver Messenger Service to name a few.
Jimmy Sanchez handles the drums and played with Dr. John and appeared with Davey on
Pete Sears' "The Long Haul"
David Hayes, bass guitar. Played with Van Morrison, Southside Johnny and the Ashbury Jukes,
Jesse Colin Young, Country Joe McDonald - to name a few. I
unfortunately didn't get a hold of David.
Steve: Dale, you're currently working on your own solo album and Davey has helped
out on it. When do you hope to release this cd?
Dale: This year, hopefully. It's finance, not romance. I'm doing this myself, so any gig
or session bumps the calendar when it comes to my stuff. I have all the songs
written, and performances by Davey, of course, drummer Zigaboo Modeliste
of the Meters, and Moby Grape lead guitarist Jerry Miller, in the can. It
smokes!
Sounds kinda blues, funk, rock, gospel, acid-jazz etc. Memphis/New Orleans/
Detroit/San Fran, geographically speaking, 70's direction and instrumentation.
Steve: I look forward to it's release. Please let us know when it's available as I know
there will be a number of people interested in hearing it.
Dale: I will.
Steve: Steve, your slide playing is awesome. Where did you develop your style?
Steve Canali : I started out in the '70s learning Duane Allman licks, then into more
traditional delta i.e. Elmore James style. That seems to be the basic
style that anyone starts out with. I really took a turn though when I
started listening to Ry Cooder. I've never had a lesson in my life, so I
approached the whole open tuning thing by ear. Playing slide in an open
tuning, doesn't mean you can't use all kinds of fingering. I re-learned
every chord I knew, even minors, in an open E tuning. My style sort of
evolved from my two favorite guitarists- Ry Cooder and Jeff Beck.
Steve: What type of guitar are you using on this cd and what do you use as a slide?
Steve Canali: I use a Fender "custom shop" Strat. tuned in Emostly, but use my Les
Paul for all the open D tuning. I also use A Dobro Model 36, and a
guitar I had made by Paul Chandler-something like a Less Paul Jr. I use
several different slides, a small "Earnie ball" for fast stuff, and a huge
brass concave that Dunlop gave me, for infinite sustain. I usually capo
in any key. I'm not tuned in, and for that I like the ones made by Kaiser.
Steve: You have been friends with Davey for a number of years now and to quote
Davey from our first interview regarding you....
"He (Steve) is the kind of guy who I can sit down with an acoustic guitar,
play him something I am working on, and he just knows exactly what I'm aiming
for. He is fabulous, and also a great guy. "
While talking with each of you by phone, I found it amusing that you both
had similar comments about each other.... that you sincerely enjoy
making/playing music together. How long have you known Davey and how did
you meet?
Steve Canali: I met Davey in a small pub in Calif.. Saw his name on the marquee
and didn't think it could be the same Davey Pattison that was my all time
favorite singer. I went in and couldn't believe it was him, playing solo. I
asked if I could sit in, and he said , in a 'what the hell' kind of way,
"Sure Mate".
Slide guitar doesn't fit with everything, but the way Davey sings, I knew I
could fit in and around what he was singing, to compliment and back up
what he was doing. Well, It came off great! He asked if I'd come up and
record that weekend, with his twelve piece band "Big Muddy". I went in
cold and did Mississippi Nights, and after the session Davey asked me
to play with the band, starting Tues., three nights later. There were no
tapes or anything, just had to wing it. That gig lasted five years and was
the most fun I've ever had playing.
Jimmy Sanchez: I have know Davey about 5 years? We met through our good friend
Pete Sears, who put together a group to perform at a benefit. It
included Davey, Peter Rowan, Lorin Rowan, Bobby Vega and myself.
It was magical!
Steve: From my first interview with Davey, when I asked about Dale, Davey said,
" (Canali) had been playing shows with the Doobie Brothers and introduced
me to keyboard player Dale Ockerman who had been with the Doobies for
about ten years. Again I found "common ground" with someone who just
"knew" where I was trying to go with my songs."
Dale Ockerman: I first met Davey when I was Music Director, and playing Piano and
Hammond Organ for the South Bay Blues awards in San Jose,
CA.
I was backing up James Cotton, Gregg Allman, Albert Collins and
all these greats, when they bring on this Davey guy to sing "Rock Me,
Baby", and he just about floored me. I says to myself, "not bad for a
white man, who the f**k is this?" Later, I realized that he was the same
guy who sang on Trower and Montrose stuff that I dug. Davey's
the real deal, one word out of his mouth and I go "uh-huh"! Steve
Canali and I had played together for many moons, (Doobie Brothers)
and were always looking for that type of vocalist, a soulful pub belter
who could rock, with finesse. So later Steve started gigging with
Davey, and they wanted me to also, but I lived too far away, and
couldn't afford the commute! So, when they started recording
Davey's first solo album, they called me in, as well as this present one,
and I said, "No money, just sing on my album when I'm ready, to which
he consented. To me that's worth a million bucks! I've got 2 great
performances out of him so far, and if I can squeeze a couple more, I'll
be in bliss.
Pete Sears: I first met Davey in the late eighties when we played a few shows together
with Kevin Russell on guitar. It was great to play with such a soulful singer
and songwriter as Davey, and we've been good friends ever since, playing
together on and off over the years. Davey sang on my last album, "The
Long Haul" which is sold through Tower Records and Border books,
and has just been released in Europe".
Steve: Working with Davey.... what is the most endearing quality about him?
Steve Canali: Well, Davey and I are more than band mates, We both went through
the hardest times of our lives together. The most endearing thing about
Davey is - with a voice like he has, he still has a great capacity for being
a humble average guy, who'll sit down and have a beer with anyone.
Jimmy Sanchez: Endearing about Davey.... his soulful voice and song writing.
Dale Ockerman: I love Davey's vocal style, it's a true reflection of the real man inside
the skin, something few singers can hope to attain. He reminds me of
a "golden era of R & B" vocalist, he could sing with Stevie Wonder,
the Temptations or the Beatles, and make 'em all sound better.
Beyond that, I'd have to praise his gardening skills!
Pete Sears: Davey has a great, dry sense of humor and we've had some good laughs
on the road, hanging out with blues guitarist, Rich Kirch, who played with
John Lee Hooker for many years. I admire Davey for not being afraid to
speak his mind to your face, and he's not the sort of person to stab you
in the back. Something that happens all too often in this business".
Steve: .... and the most frustrating? :o)
Steve Canali: The most frustrating thing about Davey? I guess it's that as lazy
as he is, and as much beer that he can put away, he should weigh in at
around 300 LBS., but he still looks great! Seriously, I guess the most
frustrating thing for me is that, except for recording, we're not playing
together.
Jimmy Sanchez: Annoying and frustrating - his smoking!
Dale Ockerman: He does have the most annoying habit of dressing up like Benito
Mussolini, and demanding motorcycle escorts to all his sessions. But
genius such as his, affords such indulgences. And I remember one time
at the Playboy Mansion in Beverly Hills when we were bored, so we
had these Bunnies.... oh, never mind, let's keep it PG rated.
Pete Sears: When he lights up and stands there with a pint in his hand, it reminds me
of my British roots. Sometimes when I look at Davey, I'd give anything
for a pint and a fag and the special brand of camaraderie that goes along
with it. I still have a pint now and again, but I gave up smoking many years
ago. I understand Davey's trying to give up smoking now. I don't envy
him, it's hard. By the way, I think Davey's finally forgiven me for being
English. Well, he's working on it anyway".
Steve: If you were just having a good time and playing with Davey, no studio pressures
etc. and you could do any tune ever written, what song would you want him to
do?
Steve Canali: What song would I have Davey do? It would have to be something by
Ray Charles, anything. Actually, Joan Osborne does a tune called
"Spider Web", sort of a tribute to Ray. I think Davey could do a great
job with it.
Jimmy Sanchez: Any soulful ballad.
Dale Ockerman: "Bitter Wind" by Moby Grape, written by Bob Mosely. Or maybe
"Where can a man go from here" by Johnnie Taylor w/the stax band.
Pete Sears: "Mandy" by Barry Manilow....... just a dumb joke Davey. Seriously,
I love the way he sings, "Whiter Shade Of Ale, I mean Pale". But then
there are so many songs he sings well. Any soul or blues song would do".
My initial introduction to the name, John Rewind came from my first interview with Davey,
then he was mentioned in numerous chats with "Funky Paul". His name came up again in
my interview with Dave Bronze and showed up in a quote made by Robin Trower about
"his good friend" John Rewind in the Dan Muise book. So when I first talked with John, I felt
like I had known him for a long time. It was funny really, because I was a bit nervous
(and told him so) finally talking with him as his was a name that always seemed to come up,
especially when talking about guitarists. In the RTB circle, John not only has a reputation of
being a superb guitarist, he's also known for being a genuinely nice man, which I quickly
discovered during our conversations.
Besides contributing his guitar playing skills, John also produced and wrote or co-wrote five of the songs on this cd.
Steve: You seem to know everyone! Can you tell us a bit about your background.
John: I don't know why you would be nervous. I'm just another guitar music junky.
Well, I grew up in Kansas City and started playing drums at 9 years old after
seeing "Cubby" on the Mouseketeers. I just knew I had to have a flattop
haircut and play the drums. Between him and the drummer on Lawrence Welk.
I took drum lessons from a guy named Bill Zickos for about 4 years (He
invented the clear drums back in the '70's). I played in a Drum & Bugle Corp.,
you know marching and such, played in a jazz group with some college guys,
did "Gene Krupa & Buddy Rich" type drum "battles" with this other 13 year
old kid and performed on the "Whizzo the Clown" TV show in KC. Man, I
haven't even thought about this stuff in 40 years! I can't believe it, but I was
a gigging musician as a little kid. Now Davey will understand when he says "gig",
why I groan. When I was going on 14 years old, some guy drove a car over my
right foot, so there went my bass drum action. While I was healing with a cast on
for a couple of months, I bought a Silvertone guitar from an infamous KC
character named Roger Calkins for $5 (Roger Calkins & the Silvertones). My
older brother was 18 and had all these cool Blues & Rock 'n Roll records. So,
when he would go out, I'd sneak in his room and sit for hours listen to Muddy
Waters, Howlin' Wolf, Jimmy Reed, Bo Diddley, Chuck Berry etc... and figure
out licks. Then I would go to the "Sock Hop" and "Berry's Barn" , the local
dance joints and watch the Silvertone's guitar player, Frank Plas play all night.
Those were my guitar lessons, listening and watching. I would just go into a trance
when I heard blues guitar and had to learn how to play it. Then a few of my
classmates and I formed The Knights and made some local KC area 45's when
I was 16. Then onto college, where I started to play with a singer named Glenn
Walters, who did a cd a couple of years ago with Tower of Power and lots of
national TV ads. We played off and on for years in a band called The Zoo,
with a record out in St. Louis, and were in a band during the '70's with another
singer-songwriter named Joe Crane called the Hoodoo Rhythm Devils. That
was my first taste of the "big time". Hah! We opened all over the US and
Canada for the Doobie Bros., Steely Dan, Chuck Berry, Mott the Hoople
etc... and played on the first Pointer Sisters record. Some of our songs were
covered by Johnny Winter, the Chambers Bros., and Commander Cody.
After the Hoodoos, I did session work for Country Joe McDonald, Rodger
Collins and other noted SF Bay Area characters, working on sessions with
Steve Miller and Ike Turner. That's when I started to like the "other side of
the glass" better and got into producing.
I produced the Dynatones after they quit being Charley Musselwhite's back-
up band, Roy Loney and the Phantom Movers (from the Flamin' Groovies),
and lots of other locals like Spys, The Impostors, The Trouble Boys etc...
you know the "The" era. Then I did Holly Stanton, who went from a guitar
student of mine to being on "Solid Gold" with a hit in a few months. That's
when I knew the studio was my stompin' grounds. Now I'm producing about 5
projects at the same time, everything from a alt-rock group called The Beautiful
Losers from Tokyo, to a ukulele cd with Steven Strauss from the SF Bay
Area. I've got a little online cd company at: www.rearwindowmusic.com.
Steve: How long have you known Davey?
John: I met Davey in the early '80's and don't even remember who introduced us. I
knew immediately when I heard him, this was the voice I'd been looking for. He
was from that Paul Rodgers, Jimmy Dewar, Frankie Miller, Alex Ligertwood,
Delbert McClinton school of blues-rock singing that just nails me. I'd known
Jimmy Dewar since 1974, and knew about Davey from him and seeing him in
Gamma, but never imagined I would be working with him. We've been bashing
out songs for almost 20 years together now, with some big gaps in there when
he was first singing with Robin. In fact , I gave Robin our demo, which led to
Davey joining the RTB. Sorta shot myself in the foot, huh? No, it was a
good move, with great results, wouldn't you say?
Steve: So it was actually you who sent Robin a tape of Davey which initiated
their working together back in the mid eighties?
John: No, actually, I handed it to him on his tour bus, if you want to get technical. It
was pretty casual. I guess Davey's voice just jumped out at Robin too.
Steve: What made you think this would be a good match?
John: Robin writes great songs, and I could listen to Davey sing the telephone book!
Both very soulful musicians and very passionate about their craft.
Steve: How do you know Robin?
John: I met Robin in 1968 when he was with Procol Harum. Paul Olsen's partner in a
poster business was a guitar student of mine in San Francisco and invited me
to meet Procol, and jam with them at this big mansion. Well, everybody was stoned
out of their minds, and I never did meet Robin. But every time Procol came to
SF over the years, I hung out with Gary Brooker and B.J .Wilson a lot, and
gradually got to know Robin. I went to London in 1970, and watched them record
at the EMI Abbey Road Studios, and even played a snare drum part with
Barrie Wilson on one of their tracks. That's where I got my name "Rewind".
I actually started to know Robin better after he started the RTB. Robin's a
little more "reserved" than me, you know. I'm one of those obnoxious Americans
that tells you their whole life story in 10 minutes, can't you tell?
Steve: Dave Bronze?
John: Every time Robin was in town I'd go see him, and was just drawn to Dave
because of his incredible wit and truly amazing bass playing. Dave eventually
moved to the US, and was my neighbor for about a year, I think. Pretty nice
having a talent like that living 20 feet from your studio, huh? Dave's playing on
one of the tracks on my cd called "Act Your Age", and truly shines playing with
Joseph "Zigaboo" Modeliste from the Funky Meters. I don't think there's a
type of music on earth that Dave couldn't put a perfect bass part to!
Steve: Funky Paul Olsen?
John: Are we gradually working our way through my rolodex?
Steve: Well I said you seemed to know everybody that is associated with this "family"
that my site is on!
John: Funky Paul. Well, it doesn't seem like I've ever not known Paul Olsen. Wow! Do
we have a few hours? Paul is a rather colorful character, I'm sure you've found
that out on your own. Why, Paul has done everything from paint my infamous
guitar, "The American Pickle", to living in the house in L.A. that was Delfi
Records, where Ritchie Valens recorded "La Bamba" and "Donna'! Paul moved
from San Francisco to London in 1969, I think. In 1970, I was in desperate need
of some fun and showed up as a surprise at Paul's in London for about 3 weeks.
I stayed with (Gary) Brooker for a few days too and was in a Ronnie Hawkins
"Top of the Pops" film with Paul, met Ringo, Joe Cocker's Grease Band, The
Mods and Rockers etc... the whole deal. Paul is one of the most creative people
I've ever known. His "Bridge of Sighs" cover is a classic, not to mention his giant
Monopoly Game paintings that I remember him the most for. In fact , right now,
he's doing a series of videos that I just supplied some music for. We talk
frequently.
(Please check out Paul's web site at Olsenart.com he has some amazing stories and artwork.
Also check out Paul's pages on this site at Funky Paul Page )
Steve: You co-produced on Davey's first cd and produced this cd as well, what is
he like when you get him in the studio?
John: Davey's great. He comes in to sing, and doesn't bring his herbal tea, consult
his guru, hang his crystals in the proper Fung Shui position, he just rolls the
tape and sings. How refreshing! Once in a while there's a line that gives us
trouble, but mostly it's just him singing. What a concept!
It's a little frustrating once in a while though because he can't speak English.
Or, is it us yanks that can't speak? Sometimes there's a word like "calm " in
"Take a Look at Yourself" that comes out "cam" in Scottish.
"You've got to cam down"??? Poor lad, he can't help it.
Steve: People have told me how meticulous you are as far as what you want when
recording or working on a song. Davey plays you a song and gives you some
basics on what he wants... do you know right away how you are going to
approach it or does it take you a while to know where you want to go with it?
John: I don't think I'm any more meticulous than anybody else, probably less, because
I get lazy. I don't even know the name of half the mics out there, like a lot of
producers. I just focus on the song and try to wrestle it to the ground. That's
the fun part for me, when a song is just coming together and you don't know
where it's quite going, making the parts fit. Ask Davey, I'm a real hot rodder.
I like it then, once the chord structure and melody click, and about a year later.
Then you've forgotten all the details and hear it again for the first time, if you
know what I mean. The goal is to write a song that doesn't sound like it was
written, it just fits together. The words tell a story, make sense ,maybe even in
an abstract way, but are not particularly a documentary, and the chords and
melody are comfortable together, no matter what the style of music.
"Bridge of Sighs" and "Daydream" are contenders for me.
Steve: If you were just having a good time and playing with Davey, no studio pressures
etc. and you could do any tune ever written, what song would you want him to
do?
John: Probably "Drown in My Own Tears" by Ray Charles. We're both huge Ray
Charles fans. But, then again, no one could ever improve on that one. Maybe
"I Believe to My Soul", or "The Night Time is the Right Time", both by Ray
Charles. Is there anyone else? I saw him here in Marin last year. He's like 70+
years old and can still knock you out. I hope I can even tune my guitar at that
age.
Davey: I got a good laugh out of the responses from the guy's who played on this
album. They are the salt of the earth. It is really a pleasure just to be in their
company, never mind having them as a band. I guess they could have said I am
a prissy prima donna as a lot of singers are, so they were kind to me with their
responses. I tried to make recording this album as easy as possible for them in
as much that I trusted them all to do what was right for the tracks. These
people are all seasoned professional musicians, so they came in to the studio,
and we just let them "do what they do" No bullshit, no ego's. I love them all.
the Music Scene
As I mentioned at the beginning of the interview, as we were working on it, this was the note Davey sent me when we discussed how we were going to do it......
"" There is a distinct possibility that the next interview you do with me will be pretty long (depending of course on what you ask me) as there are quite a few things I would like to talk about. The state of the music business comes to mind!!! Radio in America etc. I don't want the interview to come across as everything is rosy simply because I have an album coming out and I have another one with Robin on the way, cos the fact of the matter is that it is almost impossible to record and tour these day's unless one has a huge production with dancers, and as many scantily clad men and women on the stage with you as is humanly possible " "
Steve: What's the importance of music to you personally?
Davey: As I have mentioned earlier, music at one time was everything to me. I have
lived and breathed it most of my life, gotten many a frustration, and sadness,
out of my head by singing and writing songs. I have met so many wonderful
people because I play music, and worked with many fine musicians, and also
gained lifelong friends from it too. However, there is a "price to pay" for
that, and God knows I have paid many a due into that "club". It will always be
a huge part of me, but these day's I am also trying to have a life away from
it. The music business today is making it easier and easier to do just that.
Steve: What do you think then, is the importance of music socially.
Davey: I don't know that it has any social relevance any longer. It seems to me that
music has gone the way of all business in this day and age. Meaningless,
mindless, soulless drivel coming at you faster than a speeding bloody bullet!
Let me try to explain how I feel about it this way. Rock and roll, blues, soul,
any form of "popular" music has ALWAYS been about sex. The sexiness of
it used to belong in the art of putting a good song together, in the voice, or in
the way an instrument was played. Songs don't seem to matter anymore. One
can simply inject sex into it by putting a video crew together, and making what is
more or less a soft porn movie. The "song" itself therefore becomes irrelevant,
and goes by the wayside. Hit songs are not made by hearing them on the
radio, cos nobody can get ON the radio. Hit songs are now made by MTV
and VH1, and at the end of the day, what does this have to do with music?
Does anybody over the age of 12 watch this shit? Sorry if I am rambling
here, but I do get a wee bit upset over this stuff.
Steve: There was a delay in releasing this cd because you were waiting to see if any
record companies were interested in distributing it. What was their response?
Davey: I'm actually laughing at the question Steve!!! I must say that we only tested
the waters with that. Got no response whatsoever!!! No surprise there mate!
We knew the major labels were a waste of time, so didn't bother, and
Independent labels are dropping like flies because they can't get their artists
on the radio. I think the days of the record companies ruling the music
business are numbered.
Steve: How frustrating is it for you when you get this reaction... especially given the
caliber and quality of the people you were bringing with you to the table?
Davey: Well frankly, it's not frustrating anymore, it is just par for the course really.
I have been making records for thirty years or more, and I could be on the
phone to some kid at a label who has no idea who Robin Trower is, let alone
Davey Pattison. I really have no faith in the music business anymore. The
days of labels having knowledgeable people in charge are long gone I'm afraid.
Steve: Why is it people aren't getting the opportunity to actually HEAR these
albums? What is radio and the recording industry thinking by saturating
the airwaves with the same stuff.
Davey: Well the radio stations as far as I can see, are owned by one or two
conglomerates, who own 90% of the radio stations in America. For some reason
known only to themselves, they are seemingly quite happy to offer the public a
never-ending supply of old Led Zepplin, Bad Company, Ozzie Osbourne and
the likes. Most musicians of that era are still writing and recording albums, but
the stations will not play anything new. I have friends at radio in the Bay Area,
who would love to play my music, but the format of the so called "Classic"
rock, wont let them do it.
Steve: And.... with the advent of the internet, and the copying of music from numerous
sites around the world, where do you think the recording business is heading?
Davey: Well speaking for myself Steve, I am from the "old school". I only know one
way really. Go into the studio with good songs and good musicians, record
them well, put it out, get on the radio, and go on the road. That is the way I
have done it all my life. The internet is probably the way of the future, but
you are really asking the wrong man about that. I have about 60,000 hits on
my web site, but that does not translate into 60,000 sales of my music, so who
the hell knows where it is going to end up. I just got digital TV, and I can't
figure out how to work the bloody remote mate!! A techno man I am certainly
NOT!!!
John Rewind: I just hope that "real music" can get back in circulation, but it's going to
take something like iTunes and the internet, or satellite radio to do it.
Major cd labels and Corporate radio don't have time to listen to a song
anymore, it just has to be what they've decided their demographic wants
in the first few bars of the song. If your over 25, it's like you don't exist.
What other business wants people with the least amount of experience,
and considers something a flop that only sells 500,000 units! And, many
major players, managers, lawyers etc... in the biz don't even want to deal
with the majors. They might have 30 years experience and the guy from
the label just had his first shave! There just like the big car companies.
They just keep trying to out-do last years earnings and keep generating
more and more of exactly the same as a Mercedes, only cheaper, and
wonder why no one is buying them. But then again, we can live our whole
lives and never hear one rap song, or buy a Mercedes clone if we don't
want to. That's the lure of the internet, to go around the "powers that
be" in any field of commerce. We don't have to buy anything we don't
want, really. Hopefully, the Music Biz will shrink to where it should be,
and all the "manufactured" artists, who are not very good live, or before
the correcting tools, will just go skateboard. Nowadays, you have to be a
million seller to be an opening act.
You have to have experience to get experience!
Dale Ockerman: Yes, that's a nasty subject, on which I have mixed feelings. I miss the
"Electric Ladyland", and "Songs in the Key of Life" type of albums,
where the budgets were unlimited, as was the quality of songs, vibe
and performance, the key elements of quality music. It's supply and
demand, like sausage or kleenex, people buy stuff because they
need/want it, and somebody makes a living at providing it. But, the
Emperor has no clothes, it's all bullshit! To improve the situation,
Artists need to consider their audience, and fans have to not be
brainwashed by a dying behemoth of an industry. They're (The
Industry) going down, and it's ugly. Has to get better before it gets
worse, they say....., and it's bad!
But, let's not throw out the baby with the bathwater, though. Good
cover art, and Artist development should not be overlooked. I know
it was an evil, greedy, bloated industry, but why must I listen to all this
crap? Can't anybody write a good song? The "Stack of Coasters"
effect at 20$ a pop is ridiculous.
At the same time, if I put every cent I make gigging and producing,
into making a Great CD, it would be a drag if everyone were to just
burn or download free copies, as my health insurance lapses. It's a
massive ethical problem, on both sides. As John Lennon wrote:,
"You say you've got a real solution, well you know, we'd all love to
see the plan"..... A good start might be "Just say No" to bullshit,
for both sides, what you tolerate is what you live with.
Steve: Did you happen to watch the Grammies? I am afraid, after personally
struggling through them, for the most part, the caliber of what I call music
(I'm not even going to touch on the obvious absence of actual musicians)
seems to have gone down hill and that's an understatement.
Davey: Actually I did watch the Grammies last year for the first time in many years.
I gave up watching years ago when M.C. Hammer won for best R&B singer!!
That put me off big time! The Grammies, like the whole music business, seem
to have gone "corporate". I at one time thought the Grammies were about
honoring people who had achieved some kind of stature in their chosen field
of music. It also really amused me that the biggest rap star in the world is a
white guy who also received an Oscar!!!! Go figure THAT one!!!!
Steve: So...... why do you stay in the business?
Davey: I laughingly ask myself that question every single day of my life. I guess I'm just
a stubborn old bastard. I used to really hate being in a studio, but now I simply
love going in there with bits and pieces of a song and trying to make it work.
The whole creative process of putting songs together is what it is all about for
me now. It's funny that I should make that statement, cos as I say, I used to
dread the studio. I always thought that performing to a roomful of people was
what it was all about, and I still love to do that of course, but the process of
putting songs together with the right players for a particular song is what keeps
it interesting to me.
Jimmy Dewar
Steve: This cd is, as you put it, "humbly dedicated to James Dewar".
You told me you wanted to talk a bit about Jimmy. Jimmy was one of your
oldest friends, besides the voice, what is it that you remember most about him?
Davey: What can one say about Jimmy. One of the saddest days of my life was the
day Jimmy passed away. Pam and I were on holiday in Glasgow, having a good
old time. Brian (Denniston) and I arranged to go to the hospital to see Jimmy.
Brian picked me up, and off we went. Having arrived at the hospital, we were
ushered into this waiting area where we sat for about 30 minutes, when this
very nice man showed up and asked if we were family. I said I was an old friend
who had come a long way to see him ( I was thinking at this point that they were
not going to let me in to see him). The guy then told us that Jimmy had passed
away five minutes earlier...... I was simply unable to say anything at that point.
Brian and I just looked at one another with looks of disbelief. What do I
remember about Jimmy? Well what comes to mind is his caustic Glaswegian
sense of humor. His kindness to me for helping me (along with the Big yin
Lordan) to get to America, introducing me to Matthew Fisher who produced
an album for me that convinced Bill Graham to invite me over here. I could go
on and on about Dewar, I really could. I have said it before, and I will always
say that James Dewar is the finest white singer I have ever heard.
I always wanted to do an Everly Bros. kind of thing with Jimmy.
Steve: Your voices would have sounded unbelievable together... and would have
definitely brought tears to the eyes.
Davey: Yeah we used to mess around with a song called "Let It Be Me" at parties
or sitting around.
Steve: l get lots of mail and entries in the guestbook from people writing about Jimmy.
It's obvious the gift of his voice moved countless numbers of people who
will hold his memory close to their hearts for a long, long time.
Davey: Jimmy used to sing a song called, "Scarlett Ribbons", and I swear to God,
every time he sang it, it would bring tears to my eyes. He was a very soulful,
spiritual man. His wife Mattie and his family, I know, are very proud of what
Jimmy achieved.
Bill Lordan
Steve: You recorded a song for Bill Lordan's band BLX called,
"Chamber Of The Heart" as well as a couple of old RT tunes,
(Messin' The Blues and King Of The Dance) to include on their newest
release as a tribute to Jimmy Dewar. I loved hearing you sing these songs.
Davey: Thank you. I had serious reservations about covering Trower songs without
Robin playing guitar, but I thought Eric did a fine job on those tracks.
Also the never ending comparisons to Jimmy were concerning me. I really hate
when people compare someone to someone else, I really do. When I first
arrived in America, I was getting compared to Paul Rodgers by all the press
etc. I, for the life of me, could not understand where they were getting this
stuff. It's like Robin being compared to Jimi Hendrix. Bullshit!!!
Steve: Those kinds of "comparisons" can really hurt a career. I am a big Hendrix fan
and to be honest, I have never understood that comparison. If you play a
Strat through a Marshall something will sound similar, but I have found that
people who say that, have just never really listened to either. That can be
said as well about you and Jimmy . I have read dozens of interviews with
Robin and I am shocked by how many times writers bring that up and
often wonder how many people read that and it turned them off.
On Bill's cd, while you always say you aren't really into "Rock", let's just say
when you do, you can!
Davey: Well I have always said I am not JUST a rock singer. I have been on pop,
rock, country, blues, and soul albums. I have even sung with big bands doing
standards. I just like to think I can do a decent job with anything that comes
my way. I have never been a big fan of rock music Steve, as I always found it
to be lacking in lyrical content, and more importantly, lacking in "heart". That
is why I love working with Robin. I guess most people consider him to be a rock
guy, but his music has always got "depth" to it, and as a singer, the opportunity
is always there with Robin to put ones emotions and heart into the songs.
Robin Trower
Steve: Well, speaking of Robin...... as everyone knows you have just finished recording
with him again. Dave Bronze, Pete Thompson, Robin and yourself....
This is a scenario you and I have had....... oh, a few dozen friendly"
discussions about. :o)
The question you know I have to ask is, how surprised were you when the
concept came up while you and Robin were together?
Davey: Well if it was a surprise, it was a very pleasant one. Brian and I met Robin at
a hotel the night before Jimmy's funeral. Frankie (Miller) was there too
with his girlfriend Annette. Considering the sad occasion, we had a good
laugh. You would have to ask Robin about why he called me really. I think
he had a bunch of songs already written, and got to thinking I might be
able to do them justice. He likes the fact that I don't come in with a huge ego,
and the fact that I am more than willing to listen to his suggestions. He wanted
a less "bluesy" approach to the vocals, and I figured that would be a bit of a
challenge for me, cos I go straight to the blues with every song I sing really.
It turned out that I was worrying needlessly.
Steve: How enjoyable was it to look around the studio and see Pete Dave and Robin
standing there?
Davey: It was like "going home" for me really. We were in the same exact rehearsal
rooms where we put the "Passion" album together, and "Take What You
Need" too. I can't tell you how comfortable it is for me, or any other singer for
that matter, to sing in front of these three guy's. Bronzie is a truly gifted man,
he really is. Knows just what and when to play, and comes up with these amazing
little "passing notes". Pete (apart from the fact that he has no knowledge of
what time it is in California, and insists on calling me in the wee small hours when
we are sleeping) is one of my most favorite people in the world. A teddy
bear!! And one of the best drummers I have ever played with.
Steve: Did it have the feel of stepping back into the late 80's?
Davey: No, not at all. I don't think any one of us thought about this being a "nostalgia"
thing. We all know what each other is capable of musically, it was just a matter
of putting it all together. The four of us are very comfortable around each
other, and the whole process was easy going and relaxed.
Steve: So did Robin ask you to play guitar with him ? :o)
Davey: (I'm laughing at the memories of THAT mate!!!)
Yes, he toyed with the idea of me playing. (probably not in the studio though).
I tell you, that man Trower comes up with this shit that only he calls chords!!!.
I play a wee bit Steve, enough to write my own songs, but he comes up with
these chords that aren't really chords at all!!! Just two or three fingered
strings, and the rest open. I had no bloody clue!!!! Let's just say, I failed
the audition!!!!!
Steve: To quote a mutual friend, Brian Denniston,
"Although he doesn't do much on the solo side of thing's people don't realize just how
much feel Davey has on the rhythm side of thing's , he really knows what to play at exactly
the right time and is very underestimated as a player. "
*And as personal suggestion - those of you who have been fortunate enough
to hear Davey "Unplugged" at some of the venues in the San Francisco area will
understand why I'm suggesting the following - Davey happened to send me a video of
himself performing, among other songs, an acoustic guitar version of, "Bridge Of Sighs"
as part of his show. Derek, Robin, if you read this, here's a thought. Picture this... The
stage is black, a single light shines center stage and there sits Davey with an acoustic
guitar and mic. He starts off and does one or two verses solo... The light fades from
Davey and is now shining only on Robin. He's playing that familiar riff. By the time
Robin has finished this riff, and the words are to come in, the lights expand to
include all the musicians who are in place, adding the whole sound. This would blow the
roof off!... Steve
Steve: Now that "Living Out Of Time" has been released, I'd like to get as many
of you together as possible to talk a bit about this reformation, the songs
and basically how it felt getting together again after all these years.
Davey: Okay mate, nae borra!!!! (that is Glaswegian for no problem!!! )
Davey: Well you can see why I love working with Robin. It is really quite amazing. We
share a love for singers from the 40's and 50's. Robin doesn't listen to guitar
players, he listens to singers. At the end of the day
Steve: Do you listen to your own recordings very much... or at all?
Davey: Not really. It's not that I don't like to hear these albums, it's just that they are
now done, finished etc. I am always thinking of, "okay, what's next???"
Pam: When Davey's sister (Joy) was over for a visit I would put on, "If Forever" which
is one of our favorites and she would cry every time! He would go outside though
anytime we put his stuff on.
Steve: Why did he go outside?
Pam: He doesn't like to listen to his own stuff. I don't know why not, but he doesn't.
Which makes it hard for me cos' I can only listen to it either when is is out or on
the rare occasion that he doesn't mind.
Steve: In talks I have had with Davey, it is very apparent that his biggest fan is his
sister, Joy. I have talked to Joy and wanted to get some thoughts from her
about her Big Bree".....
Joy Pattison (On her favorite song)
I have thought long and hard about how to answer this, I would say that Pam
would be right in saying that I cry when I hear "If Forever". I don't know why,
I just do, It's one of those songs that make the hair on the back of my neck
stand up. I just love it!. My long time favorite would have to be "Rock Me
Baby". Dave would always sing if for me, his words, "this one is for my wee sis",
she like's that sexy shit!!!!! I think his words just say it all.
Steve: Have you seen him perform often? With who? What was your impression?
Joy Pattison: I have seen Dave perform with many people over the years. In the early
days. there would be Jimmy Dewar, Frankie Miller, Alex Harvey, Stone
the Crow's with Maggie Bell, and many more. I remember they would meet
up after a gig, in a place called the Picasso, where they would have a few
beers and discuss music. I frequently went with Dave to a lot of his gigs,
but was never allowed to go to the "Picasso. I always did wonder what
happened there!!"
The first time I went to San Francisco, Dave had joined Gamma by this
time. I arrived in time to see Gamma perform in the Cow Palace, ZZ Top
were also on the bill. "God I thought all my birthdays had come at the one
time". To say I was impressed, is an understatement. It was truly amazing
to stand behind the stage and look out at all the people, there were
thousands !!!!! It was also very exciting back stage. I was so proud
watching my Big Bree singing in this huge arena, he appeared to be so
confident and of course his voice was just as wonderful as I had
remembered.
Steve: As his sister, and looking at his stage and web presence, do you find it funny
how popular he is and how much has been written about him?
Joy Pattison: The answer to that would be no. I have, over the years, got kind of used
to it. I also have a look at his web site and know how popular he is. I do
tease him from time to time as to how he will go down in history
.
Steve: I'm sure you have heard the "Pictures" cd. What do you think?
Joy Pattison: "Pictures".... I love it! Dave, sent me a rough copy ( I had pestered him
until I got one). The morning it arrived I was just leaving for work, I had no
time to listen at home so I played it in the car, It was amazing, I cried when I
heard "Pictures" my favorite song from this album ..... it was just my Big
Bree.!!!! Its a really good album, I hope somebody will take the time just
to listen to it. I could go on and on, we are talking about my favorite
subject.
Steve: I have heard that just like in the case of most actors not wanting to watch
themselves on screen, most musicians really don't like to listen to themselves.
Where do you fit in with this statistic?
Davey: Speaking for myself, I don't listen much to my old albums. Once it is done, I'm
looking at what is coming next. Pam occasionally pulls them out, but I tend to
disappear when she does. Not for any particular reason, but I'll hear something
that I wish I could do over again. There is one song in particular that I wish I
could "have back" A song on "Take What You Need" called "Over You" that
I feel could have been better from a vocal standpoint.
Steve: That subject has come up a lot in other forums. As fans, we have always
had a hard time understanding why artists can be so critical of the work they
have done when we, the listener, can hear it every day and enjoy it every time.
Davey: Well go figure. I have had a lot of mail from people who tell me that "Over
You" is their favorite vocal song of all time!!!!!! I guess it's like "beauty being
in the eye of the beholder."
Steve: On the inside liner it says thanks "to Pam Torres for showing me that there is
indeed light at the end of a long dark tunnel"
Steve: So to answer the question you pose to yourself in the song, "Pictures",
you ask, "what became of me" ?
Do you like where you are now? What has become of you?
Davey: Ronnie Montrose told me a while back when we were putting the Gamma 4
album together that Denny (Carmassi) had called him up before we started
that album and asked "Can Davey still sing?" I hadn't seen Denny in a long
time before we got together to do that album, so he was quite right to ask the
question. He too was about to give a lot of time and energy to the project
after all. When Ronnie told him, "better than ever", Denny said to him, "I wonder
why Davey isn't rich?" So to answer your question Steve, I would have to say
yes and no to that. Also that there are fabulous singers in this world who have
never ever been given the chance to "make a mark" at all, and people like Bobby
Bland who have been on the road for 60 years. To my knowledge, Bobby
Bland has ONE gold record to his name! He's probably recorded hundreds
of albums in his time, and has had ONE album that was really successful. So I
am not in so bad a state over it really. When I start to feel sorry for myself, I
think of John Lee, and his years on the "chitlin' circuit". It could be a lot worse
mate!!!! I'm still singin'!!!!! I have been Davey Pattison for a long time now, and
although I would be the first guy to tell you that I could use a few "adjustments",
I am quite happy with who I am.
Steve: If you could be anywhere in the world right now... where would you be? Why?
Davey: Oh you are hitting me "where I live" with that one Stephen"!!!!!
If I had my absolute choice, I would be in "The Rig" in Glasgow (my sister's wee
"local" pub) with my two daughters, Pam, Patrick, the bloody monster that is
"Rayna" and Joy. My nieces Jennifer, Paula, and Anne, my lifelong mates,
Willie Stewart, Bill Sampson, and of course Brian Denniston. (one must always
have a guitar player handy!!! They sometimes have uses you know..... a
Canadian guitar player named Shail would have a ball in Glasgow you know!!!)
The Egan clan, and my dear old aunt Nell whom I adore. I do get very homesick
on occasion, and I really thought about moving back to the U.K a few years
ago, but I also love where I live, and I have been away from Scotland for 25
years now. As the song say's, 'too many years' I guess. In California, I don't
go out very often, if at all, so If I am not working, you will find me sitting by the
pool having a few beers, and trying in complete vain to get a sun tan!!!!
It's like the music business. I will die trying!!!!!
Steve: Well Davey, we find ourselves once again at the end of another interview and
I want to thank you for sharing your thoughts and your continued and
refreshing honesty, openness and above all, for your friendship.
Davey: Thank you Steve, it has been my pleasure to do this with you. I sincerely hope
I have not painted a picture of doom and gloom with this interview, because
that was certainly not my intent. However, people must realize that they are
on the verge of losing many artists that I know they love, respect, and admire.
It is absolutely appalling to me that someone of the stature of Robin Trower,
has, like myself, announced on the net, that "Living out of Time" may be his
last album. "Pictures" may well be my last album too. I guess it is simply up
to the fans to decide whether these albums are worthy of their support. I
would like to thank the people from all over the world who supported my
efforts by buying my last album "Mississippi Nights", and I can only hope for
their continued support with "Pictures". People who download music for free,
or burn copies for their friends, are only contributing to the demise of "real"
music. I thank everyone who takes the time to read this, I thank Steve Shail
for taking the time to put it all together, and I thank all the great musicians
that gave me their time, talent, and energy to put "Pictures" together.
"Keep on Rockin'"!!! God Bless.
While I had the opportunity, during my interviews with some of the great musicians who worked with Davey on his cd, I thought it might be interesting to get a small glimpse into their personal taste in music during a certain situation and ask each of them who or what they themselves liked to listen to.
I asked them all this one question:
"If you were to make a five song cd for your vehicle, and it was the only music you could listen to on a long drive ...... what would they be? "
Steve Canali: Impossible! It would be different every day. But if I had to choose by
artist, I'm sure it would be made up of mostly Sonny Landreth &
Ry Cooder, Bobby King & Terry Evans.
Dale Ockerman: This would change daily, or hourly. Right now, I'd say "Catfish
Blues" Muddy Waters, "Wind Cries Mary" Jimi Hendrix, "A
Whiter shade of Pale" Procol Harum, "Come Back, baby" Ray
Charles, and Barabagagal" Donovan w/Jeff Beck group. Having
heard that, there'd be another thousand songs I'd want to hear!
John Rewind: Wow! What are you, Barbara Walters? Only five. I'll just pick five
before I change my mind. How about "Hey Pocky Way" by the Funky
Meters, "Low Commotion" by Ry Cooder, "You Don't Love Me" by
Bo Diddley, "Final Peace" by Jeff Beck, and "Heart's Desire" by
Lee Roy Parnell. That would work. But don't ask me five minutes from
now, they'll be different.
Pete Sears: I think I'd rather listen to early British "Goon Show" radio shows, and
perhaps some classic "Monty Python". Music tends to make me drowsy
driving on a long road trip.
While the title or topic of my web site is Robin Trower, it's not just about one person. It's about the music, the sound, not just the sound of a guitar...but the TOTAL sound, guitars, bass,drums and vocals, all of them together, weaving through the songs, each doing what they need to do, at the right moment, to give you the TOTAL sound.
When I think of Robin Trower ,I think of Jimmy Dewar, Bill Lordan, Reg Isidore, Dave Bronze, Pete Thompson and a few others.
When you think of songs like "Caroline"," Passion", "No Time", "Take What You Need", "Sea Of Love" you think of the vocal talents of Davey Pattison.
The versitility and power of his voice on "Love Attack" or "Tear It Up" to the soulful tenderness of "If Forever" or "Over You" (IMHO two of the best vocal pieces I have ever heard) you could easily make a case to count him among the top vocalists out there.
