#brianparrish

For many of you reading this, Brian Parrish will already be a familiar name -  amongst many fans of ‘prog’, he is held in high regard as the guitarist / vocalist with ‘Badger’, but this is by no means all that he should be remembered for, or associated with. In fact, to document ALL of his history would require an entire magazine edition of it’s own! ‘Badger’ were co-founded by keyboardist Tony Kaye after he left ‘Yes’, along with David Foster - the pair found drummer Roy Dyke, who thus suggested Parrish, and voila!  Rehearsals began in September 1972, a deal with Atlantic Records followed in quick succession, and with the dawn of 1973 came their first album “One Live”. From a ‘fame’ perspective, it might seem that ‘Badger’ was the point at which Parrish suddenly appeared on radar, but prior to this he really hadn’t been a stranger in the music industry. Parrish had grown up in the “Skiffle” era and says that he “saw the Light“ when he heard Lonnie Donegan, and the wealth of American Roots music at the time.  He Received his first guitar at the age of 11, and despite passing his 11+ exam a year early, cites “once I had a guitar in my hands I had no more interest in, or use for, formal education” - by the time he was 17, he was in a touring band, and shortly after that the doors opened wide to the world of music and songwriting, on landing his first ‘professional’ job as lead guitarist for rock n roll legend Gene Vincent. During the next few years of touring, and residencies at the Star Club in Hamburg with ‘The Londoners’ [aka ‘The Knack’], Parrish had also landed himself a publishing deal and achieved success with songs that he wrote for Johnny Hallyday, & ‘Dave Dee, Dozy, Beaky, Mick and Tich’ amongst others. He was in demand for sessions, playing on albums for Jerry Lee Lewis, Graeme Edge (‘TheMoody Blues’), Jon Lord (‘Deep Purple’) and on hits for the likes of ‘Medicine Head’ (“One and One”), and all the while striving towards his own solo career. Whilst preparing demos for a solo album, Brian ran into old friend Paul Gurvitz (formerly of ‘The Londoners’ / ‘The Knack’) who agreed to help with vocals. The blend of harmonies was so good that they decided to make it a joint project - ‘Parrish & Gurvitz’. George Martin (the 5th Beatle) heard the P&G tapes, and subsequently signed them to his newly formed production company - the resulting album which he produced was hailed as the debut of the “next Beatles”, however it wasn’t long afterwards that ‘Parrish & Gurvitz’ went their separate ways. ‘Badger’ marked the next milestone in Parrish’s career - “One Live” entered the U.S. Billboard charts, and was widely acclaimed. The band had already toured with YES, and Black Sabbath ; and then suddenly, in what he describes as the hallmark of his “bad timing” , Brian Parrish elected to leave the band more or less on the eve of their American tour ... A solo deal with Chas Chandler (manager of Jimi Hendrix and Slade) followed, but his debut album “Love On My Mind” proved to be less successful than he anticipated. From there he moved increasingly into production and writing, becoming what they call a “back room boy” rather than a performer. Whilst he continued to take session work, his live performances all but stopped-  yet throughout the years, he has never stopped writing. Brian suffered a brain tumour in the late 90s - the ensuing surgery, whilst 100% successful in removing the tumour, left him without hearing in his right ear ; meaning he has had to re-learn the recording process in the absence of a “stereo” picture - it did not, by any stretch of the imagination, deter him from carrying on with his career in music! In 2004 Brian returned to the stage when invited to perform in Hamburg as a special guest for a “Star Club Night”.   In 2007 he released “End Game” - his first album of original songs for 30 years, and also formed a band. They still play regularly. This year [2016] saw the release of “Traveller” - a ‘concept’ album in which BP takes us on 13 of life’s journeys, with notes to the listener along the way : “We are all travellers with a one way ticket for our own unique journey through life – and our choices define us”. One thing is for certain, Brian’s choices have certainly defined him, and his life has indeed, so far, been a colourful one in which he muses “Music has dominated my journey, intensifying my experience” , and hopes that his own music is enjoyed as part of yours. He continues to work, exploring new directions, and tells us that “the best is yet to come”! If the new album “Traveller” is anything to go by then we will all be in for a treat. “Traveller” itself is one of those timeless records which contains something that will appeal to just about every taste in music. We caught up with Brian recently - curious to know more about “Badger” as there is very little documented, and also the bits before, inbetween, and afterwards, that have formed the road map of his own journey ... Helen Robinson : By the time Badger’s “One Live” was recorded you were already a ways towards carving a successful career in music ; your first professional gig was with Gene Vincent - how did you land that?

Brian Parrish : I started young.  Somehow getting a publishing deal at around age 17 ( I am not necessarily saying my songs were good, but the publishers obviously thought I might make some money for them - that´s how it works). Our band had done tours of American Army bases in Europe with success, especially among the black soldiers - I believe this was due to our material being R&B (black) influenced. I knew nothing of “race” issues - quite naive, I was! Upon our return we got the opportunity to try out with Gene Vincent, as Paul’s [Gurvitz] father was working for Don Arden, who handled Gene in the UK. I think our musicianship was limited at that point, especially when you consider that Cliff Gallup (one of the all time greats!) had been Genes guitar player in the original ‘Blue Caps’ ; Jeff Beck still cites Gallup as a great influence. Where we scored, was stagecraft - we had been learning from the get go ... and possibly because we were cheap! Both, I imagine!

HR : From there you toured and recorded quite extensively with ‘The Londoners’, and you also had a brief stint with ‘New York Public Library’ - so what made you want to go solo?

‘The Londoners’ worked pretty much nonstop through 64 / 65, scoring heavily in the “Star Club” Hamburg, where we were hugely popular. We also worked and recorded under the name ‘The Knack’, and had a near hit with a Ray Davis song. ‘The Kinks’ connection also came about through Paul’s father, who by then was working for their management. We recorded 4 or 5 other singles - one may have been written by me.  They went nowhere. Finally, shortly before Christmas, I announced that I wished to be home for Christmas Day, so please accept no gig if offered.   There was a job offered in maybe Scotland or Wales (I am not sure, but in pre-motorway Britain it would have been a slog) and the money was good, but I said “I am not doing it!” They gave me an ultimatum: Play or leave the band.    I left, of course. In order to keep playing I joined ‘NYPL’, who as ‘The Cherokees’ had played the “Star Club” with us. They had a hit under their belts but opted for a new name and a fresh start. We released some singles, not all of them bad, some written by me, and all of them died.  For collectors only, I am afraid! When I had the offer to do something solo, I took it.

HR : You became highly sought after as a session musician, and made an impact within the song writing world - what’s the most memorable thing in that period of your career?

BP : I played more sessions than I can remember. Things with Roger Cook, a bunch for ‘Dave Dee, Dozy, Mick & Titch’, for whom I also wrote some songs. It was all very eclectic. I would like to say I stayed true to blues roots, or whatever, but the truth is, the work came up and I took the jobs. Ken Dodd was one, for example. For credibility points I would add that I did a couple of sessions for Paul Jones. In the following years I would play with Jerry Lee Lewis, Tony Ashton (another Star Club friend) and Jon Lord, but there were many that I do not remember. Someone told me I was on a session with Robin Gibb. I really do not remember! Complete blank. I did have some early songwriting success with Johnny Hallyday - Huge in France and Europe. I remember the publishers were very pleased, although Paul Gurvitz (know as Curtis then) asked “Who is he?”

HR : You actually teamed up with Paul Gurvitz next, and were signed up by none other than George Martin! That’s kind of a big deal isn’t it?

BP : The way that happened was that I started a solo project with Lou Reizner, and began working up material in his Knightsbridge apartment, which he gave me the keys for while he was away in the States ...  Me and a Revox . I was taking a break and walking in the street nearby when Paul drove up - “Whats happening ?” etc.  I told him what I was doing and said “Come and listen”. Paul and the drummer from ‘The Knack’ had formed a trio with brother Adrian, calling themselves “Gun”. They had a respectable hit , but 2 albums later had called it a day, so Paul was free and I invited him to sing harmonies with me on my project. Our voices have always jelled, so when Lou returned from the U.S. I said “what about if we did this as a double act?”. In the spirit of the times he said “OK if that’s what you want”. I persuaded Paul to call himself Gurvitz (his real name). I said “it’s more memorable and has authenticity. Think of Art Garfunkle”. We recorded a pretty good album at Island studios, with the guys who would later be our band. Lou drafted in a manager from Canada, and he ran to George Martin with the tapes, without Lou Reizner´s  knowledge. Et Tu Brute? He was a snake really. Long story short , George loved us but wanted to re-record the songs, jettison a couple, and most importantly produce the album. ‘The Beatles’ had just disbanded, and had been huge, so this WAS a big deal. We were not overawed, but were ready to learn stuff and listen to his comments and suggestions. He absolutely respected our instincts, but was able to enhance everything when scoring string parts. Also having worked with John and Paul he was very open to experimentation sonically. No digital effects and limitless tracks in those days! He demystified everything for me, and there is no occasion in front of a mixer, or working on harmonies when I do not draw on what I learned.  A master-and a gentleman. Being hailed as the “new Beatles” was ultimately the kiss of death. We needed time to develop our own identity free from misconceptions and a public who did not WANT a NEW Beatles! We had inherited the infrastructure but we were not ‘The Beatles’, nor wanted to be!

HR :  No, no I see how that would have been detrimental, even with the backing of such major business influences - so,  ‘Parrish & Gurvitz’ was short lived?

BP : Yes. We toured the States with our band a good six months after the album came out. Disastrous timing. No-one would invest the kind of money and logistics demanded of touring without a current “product” to promote and sell. Also we had started on the second album - a more electric, rockier thing than the acoustic vibe of the first one. The band were great but the style of presentation was unexpected, and the new songs not known even to those who had heard the first album. The management were inexperienced in this, and we had already moved on stylistically. We were not about to bow to the demands of the U.S. Record labels “We didn´t sign a ROCK band!” - so the plug was pulled two weeks before the end of the tour. We returned to the UK, and went into the studio to finish the second album, but the honeymoon was over and we could no longer keep paying the band. They joined ‘Peter Frampton’ as an already slick working unit. We dumped the management. Paul and I separated - he going into a project with his brother and Ginger Baker, and I was approached by my friend Roy Dyke who was playing with Tony Kaye. “We need songs, a guitar player and a singer” he said, “I can do those things” I said. Cut to next scene : the rehearsal rooms where Badger would be formed.

HR : Ha! Yes - ‘Badger’. I would like to just sidestep there for a moment though, if I may ... It’s 1972 - that point in music history may well have been the ‘peak’ when you look at the wealth of talent and genuine passion for music that existed ; and remarkably the fact, as you’ve already pointed out, that by that time ‘The Beatles’ had disbanded ; Jim Morrison, Jimi Hendrix, and Janis Joplin were already gone - what was it like to be a working musician throughout that time?

BP : An unbelievable time, Yes ... We hung out with a lot of these people. I saw Jimi at a club called Blaizes for the first time. Looking like a black Bob Dylan playing “Like a Rolling Stone” with an upside down Stratocaster - but sounding otherworldly. I could not figure out what he was doing, never mind how he was doing it. I was barely three feet away. He played someone else’s guitar upside down (left hander, was Jimi). He freaked everybody, Eric [Clapton] included. We would meet all of these folks in the clubs. Janis chased our bass player all around the Revolution club I remember. He was quite innocent and the Jack Daniels toting Lady would have devoured him for breakfast! As you say, these artistes were all gone by ´72. I do not know if there were “lows” on a conscious level, but the substance use had hit high levels and I nearly died on a couple of occasions. I was rehearsing at one point with Paul Kossoff, who was in a worse mess than I - and as we know, he died sometime later. Keith Moon, who had been a friend was another. There is quite a list of drug casualties. Better not to dwell upon it. Mostly it was still an amazing time for creativity and one still had the feeling that everything was possible. We were in the vanguard of the counter culture and we were changing the world. HR : I’m in awe Brian, actually ... It really did change the world - certainly the face of music. To be a part of that would have been exhilariating, I’m sure.  I’m fascinated, because I missed it all in person - there was so much going on politically, and musically - including  the birth of ‘prog’ ...

BP : Well, The “prog” thing which was often quasi-classical and Gothic in tone, may have been started in ‘67 with “Whiter Shade of Pale”.  All the classically trained players - Emmerson, Wakeman etc. thought “Right! We´re on now!”  - By 71 /72 it was in full swing. West Coast music flourished, Blues music was marginalised but “Soul”  with a message thrived (Marvin Gaye, Curtis Mayfield, Staples Singers) -even the Godfather of Soul, James Brown was  smart enough to catch the Zeitgeist -“I´m Black and I´m Proud” he sang and it all resonated with the Civil Rights movement.

HR : It all goes hand in hand. But ... going back to You , and to add further perspective to what you were doing in 1972 - Elvis was still around, Lennon and McCartney had gone solo, and many of the UK’s (even the worlds) best known, best loved, bands and artists were already established in the public eye  - ‘The Who’, ‘The Rolling Stones’, ‘David Bowie’, ‘Pink Floyd’, ‘Elton John’, ‘Led Zeppelin’ , ‘Genesis’, ‘Queen’, ‘Black Sabbath’, ‘YES’ etc  ... taking all of the afore mentioned artists into account - they were the people you hung out with, but how conscious were you of them as competition?

BP : I think any musicians forming a band at that time just got on with the job in hand. There were plenty of acts I really liked, but I regarded none as competition. David (Bowie) was a primped up Marcel Marceau acolyte, who would brilliantly morph into whatever took his fancy, exploring Dadaism and so on. Great - but nothing to do with my universe. ‘Zeppelin’ were huge of course (we sat together in Madison Square Gardens to watch Elvis during the Parrish & Gurvitz time) ; ‘Paul McCartney & Wings’ were flying (the correct verb I assume),and I had been privileged to be around Air Studio when Paul with orchestra arranged by George Martin recorded “Live and Let Die”. Breathtaking. ‘Queen’ were nothing like as successful as they would become, but the others you mention were already very big. When Tony Kaye left ‘Yes’ and we began to rehearse ‘Badger’, I had little interest in what ‘Yes’ had been doing - seeing our music simply as the best we could do together without labels, and by extension no comparison, let alone competition with anyone in particular ; certainly not Tony´s ex band. I wasn´t even sure we were that good, to be honest - and I was always insecure about my own playing. We have had enough compliments over the years (my guitar playing included) that I am able now to accept it with good grace and gratitude!

HR : And so you should ... Not only was “One Live” your debut album, but it was also Live (funnily enough!), which was somewhat of a rare thing to do - why did you release that as opposed to a studio recording?

BP : It was not an artistic choice, but a practical one. We were playing  with ‘Yes’ who had ‘the Stones’ Mobile Studio on hand to do a “live” concert recording. To record ‘Badger’ also, was going to cost a few reels of tape and some mixing time to follow. I was not sure it would work, but I remember the “Rolling Stone” review at the time said it was the favourite album (of the reviewer) and if this was what ‘Badger’ could do live, may they never feel the need to set foot in a recording studio. It was a fluke really.

HR : Is it completely Live, or did you work on it afterwards?

There was just a little overdubbing /repair work. Notably on one song (would you believe I forget which one?). We had recorded the songs on two separate nights, and as we listened to a version of the song in question all of the vocal mikes went down half way through. Not in the auditorium, but the recording microphones. The version was great, and there were tempo discrepancies with the recording from the second night. In the digital age this would call no problem, but at that time this was a big problem. Could we lift the vocal from the second night? Splice the 2 halves together despite the tempo problems? Some of the instruments spilled onto the mikes we were singing in, so to re sing in the studio would still leave us with a significant change in sound. Our engineer Geoff Haslam helped us mix and match various parts with minimal re-singing. We tried to keep it as “live” as possible for the sake of integrity. Actually the night following the Rainbow concerts we played in Glasgow, and this was without question a much better performance. It was not recorded! HR : Typical! When you consider the impact this album had, amongst all those other huge albums in 1973 - did you feel that the band should have been bigger, or lasted longer than it did?

BP : Well one sees everything differently with the benefit of hind sight. The “business” or “career” head might have advised “Stick with it. Ride the train! The band is getting such a reaction, growing in popularity, so with touring and so on you could push the album higher in the U.S. charts, to further cement what you have done-and in time, maybe come up with a good second album”. We will never know. I would be interested to hear what the others might answer to this question. I left the band pretty much on the eve of the U.S. tour, as you know. The drug intake was prodigious to say the least, and I was becoming disenchanted with the work rate in terms of working up new material. Frustrated songwriter stuff, but not being “sober”, of sound mind and body (!) my judgement might have been impaired. I may have been too hasty. The others thought it was a tantrum, or something I could be talked out of, but it wasn´t. It was a lousy business move on my part, I would be in a better position today, if I had stayed with the band whose popularity was increasing (and if I had not died, as so many did!). Whatever. I dropped the band in the lurch, and still feel a little guilty about that. I liked them all, and still do. We had something……. Writing wise I was travelling in an altogether funkier direction - and whatever ‘Badger’ were, they weren´t funk (I reject the “prog” label). What happened next was Jackie Lomax replaced me and lo and behold, took them in a funkier direction, with the addition of Kim Gardener on bass. Jackie was a great talent, but the public did not want a reinvented ‘Badger’, so the second album more or less bombed, and my solo album did little better.

HR : Well “One Live” has certainly stood the test of time and secured some loyal fans! Given that you were the main songwriter, how do you feel about the fact that so many people still cite it as a pivotal moment in their musical journey?

BP : At the time I was not so impressed with it. A little bemused even. I was arrogant enough to think there would always be another door opening for me, with something interesting behind it. I had always bumped into people who liked what I did and assumed it would stay that way. I forgot a crucial factor, which is that a young artiste / band is much more marketable. That´s another theme, however. Over the years, right up to the present day I have heard from many people who hold “One Live” in special regard. I also have had feedback from many young people, including musicians, who love it. I think it has to do with the energy. I included a ‘Badger’ song in a concert last year and it seemed so fast! I thought “My God did we really play a whole set at this pace?” It was exhilarating on one level, exhausting on another. Overall I am much more comfortable with ‘Badger’ these days. I think it was a very good album in retrospect. I feel vindicated in respect of the writing (although there are lyrics I would change if I were to do it today) - I would definitely change the album credits to reflect the fact that I wrote four of the six pieces. ‘Badger’ has given me a little cult status. Just a little, mind you, but enough to prove I lived and played on the planet. Oh ... and I am not finished yet!

HR : Well that’s good to hear - we like having you around ... I’m curious about another dynamic of the album - “One Live” - it was produced by Jon Anderson of ‘YES’, but with the departure of Tony Kaye from their unit, were the band friends, or foe?

BP : Should I talk about Jon? First of all I like him. We are very different kinds of people - and certainly his approach to recording is a little more “clinical” than mine, shall we say? I believe that if anyone “produced” ONE LIVE it was Geoff Haslam, the engineer who spent every studio hour with the band and technically and creatively had as much to do with the finished product as we, the writers and musicians. He was great at recreating the live ambience and getting it on tape. Jon came in very little and tended to focus on vocals more than anything. Long story short - I think the folks who would take care of marketing fancied the idea of having Jon’s credit on the sleeve. This would maintain the link with the ‘Yes’ fan base. I see that, of course. Certainly, whatever the undercurrents might have been between Tony and the ‘Yes’ guys, we were all friends. I greatly admired Steve Howe, without wishing to do what he was (is) capable of. I was more pentatonic based, as is David Gilmour, for example, but Steve was perfect for the band. Rick Wakeman too, was a good mate. Great player, funny, intelligent guy and fond of a drink. He fit very well with us on a social level. Remember we played the concerts with them when the recording took place. All friendly.

HR : Happy Campers! You also toured with Black Sabbath - knowing Ozzy, I can only imagine the shenanigans! Would we be wrong to assume that it was one big party?

BP : A detailed answer to that question would be mostly unprintable. Shenanigans does not begin to cover it. We had a break in the tour - 5 days, a week maybe. Ozzy did not want to break the party up. He loved us and said “Come and stay at our house - all of you”, including road crew. We tore it up. I am not sure his wife was amused. She kept a pretty low profile. On the road it was all the smashed TV sets, drink and nonsense you would expect. We were thrown out of a hotel in Italy (Bologna, I believe), passport numbers taken and both bands and the entire crew - perhaps 25 / 30 people were banned for life. This was at 4.30 in the morning, and not in any way to do with noise, breakages (for which we paid) but something less than respectful our party did to a statue of the Pope, which was on the same floor as all our rooms. There were Mafia related events which took place during the Italian leg of the tour which would take a lot of space here and these stories are perhaps best left untold. A party, certainly. I paid my bill in brain cells, I fear.

HR : Hmmm. I’m laughing, but ... not at the brain damage!   Maybe it was for the best that you left the ‘Badger’ party when you did?! You next signed a deal with Chas Chandler, which really marked your biggest step towards becoming a solo artist didn’t it?

BP : Yes it did. I had some material which had not “clicked” with ‘Badger’, and having left the fold I knew that whatever happened next, songs would be a valuable currency. I had friends with connections to Chas. He had managed Jimi, who had recently passed, and was already back on comfortable (pop) territory with ‘Slade’.  He loved my stuff and told me he was starting a new label and that I could have complete control over the recording. I believe I should have had a co producer, or at least a second pair of ears in retrospect. That is another theme, however. HR : That album “Love On My Mind” was tagged as “Blue Eyed Soul” on account of it’s funk / soul vibe ... You were essentially being true to the style of music you loved, but did you enjoy making the record?

BP : White boys can´t do soul - or they are certainly not supposed to! Actually I think the songs were good and, in the main, came out as I would have wished. Good arrangements, some great musicians. I found my own performance less convincing. My singing always seemed detached to my ears. If I had not been wearing the producers hat, concentrating on arrangements and so forth , we might have got a performance. Few could do that. Prince showed us all how its done subsequently. As it is, the notes and arrangements are OK, everything in its place, but it seems emotion free, at least to me. Blue Eyed soul indeed! I am far better equipped to produce myself today, but would always wish for a co producer (as I have in the shape of Steff Ulrich on TRAVELLER). You have to stretch yourself, and it helps when someone is pushing, and offering creative criticism. I bowed to Steffs instincts more than once whilst making TRAVELLER, although I could have pulled rank and said “My songs, brother. I´m the boss” - I think the album is better for my not having done that. Ah humility at last! I am sure we will talk about that later.

HR : Sure ... and we’ll talk more about “Traveller” too, but around the time of “Love On My Mind”, Did something change for you at that point? It seems that after working so hard for your first solo release, you then made a move towards the production side of the business, becoming - as you say yourself, “A back room boy” - were you more comfortable there?

BP : This was never planned or envisioned. I had publishing deals as folks always liked my writing.  I should have stuck out for recording deals in tandem with publishing, ensuring that records would come out with my name on. At the very least some level of success might have been on the cards as some were still anticipating some news from the guy who had been with ‘Badger’. It was a strange time. I had no band, no records out, some sessions certainly - but publishers pushing me for material. Most publishers were not what I would call working publishers as they once had been. Less and less were we seeing covers generated by publishers. This was the beginning of the “writer/producer” era. Many people were finding artistes as vehicles for their material and producing them.  Alan Tarney is a case in point, producing Leo Sayer, Cliff Richard, Barbara Dixon and so on. I did a little of this, producing Alvin Stardust, for example. Not my finest hour I think. I was still torn between the need to play and sing and not to be limited to one genre and the fact that the publishers vision was often at odds with the labels. I was kind of fading into the background rather than choosing it. There was a point where I was getting “clean and sober” as the popular expression would have it, so there was important stuff to focus on there, and I never for a moment stopped writing ...

HR : You also worked on the “Many People, One Planet” project through the United Nations?

BP : This was an interesting, and somewhat unexpected detour. The concept was to provide education resource packs for underprivileged Italian school children. There is a huge divide between those schools which had computers and up to date visual aides, and the poorer schools where, for example, if the roof of the school needed fixing the parents would give up their time to do the work. A North / South divide basically. The resource packs were re usable, and so passed along to the other students in succeeding years. My job was to persuade companies to get behind it financially. In return for which they would receive a small credit on the laminated packs. Many people became involved, including Zucchero - something of an Italian musical icon. The high point for me was to travel to Rome to meet some very excited school children, attend the launch at the UN headquarters there, and the director had privately asked me if I could formulate some words to address the UN ! I had the experience of hearing my “speech” delivered in Italian. Of course we were provided with headphones and little handsets where we could select a language. There were live translators speaking French, English, Spanish and so on. Quite exciting. I thought “I am addressing the UN!”. I wasn´t of course, but actually seeing the joy on the faces of the kids was a necessary humility shot.

HR : Sounds like a rewarding detour ... meanwhile, a 30 year gap between solo records ensued ...

BP : A gap between publicly released recordings, certainly - I suppose it must seem that I just disappeared, although I never stopped writing or working in music, as I said. You may know I was diagnosed with a brain tumour in 1999, which was kind of a banana skin in the road at that point. I had been experiencing unpleasant symptoms, including hearing problems for some time. No need to dwell on any of this as I am super fit these days! I had the successful operation to remove it early in 2000. I was left deaf in my right ear, so some re-training was necessary. All far behind me now ... but my first foray into live music following this was in Hamburg in 2004. It was strange as the information I was getting onstage soundwise was completely different. It wasn´t easy, but I resolved to work as much as possible in this altered “soundscape”. More gigs followed, some in Germany, and to make a long story short I have lived here since 2006. I wanted to see how I could function recording-wise . In the 5 or 6 years since the operation - my “recovery years” if I can put it that way, a lot had changed technically. I opted for a small multi track digital recorder, which I had then to learn to use. It was not only that I had dropped off the Radar from a public standpoint. I had missed stuff!

HR : So along comes “End Game” in 2007 - It’s a completely solo album in that, on top of the writing, you play ALL the instruments too. Did you feel a greater reward from producing a record like that?

BP : It was a “necessity as the mother of Invention” scenario, I would say. I was alone working with my digital recorder laying tracks alone as I had for a long time when I made demos. So I played guitar tracks, of course, but also bass , some keyboards (which was laborious as my skills are less than rudimentary). I did all vocals. I have much experience with harmonies. ( you may notice that many tracks on the new TRAVELLER album have harmony vocals by me - not all though, as I love the texture of girls voices. The “amen corner” as Ray Charles used to call it)  I also worked with a digital drum machine. I was not really wonderful with it - there are people who could do it so much better. I think the ENDGAME songs are pretty good, and it was an important stepping stone for me. That said, I would like to re record the material utilising the recording methods (and musicians) I had for TRAVELLER. Actually I have started tinkering with some of them in my studio. I think you are familiar with the “live” version of “Many Moons Ago” (from ENDGAME). There is a vid on YouTube. This is an example of a good song (in my opinion!) changing, especially dynamically, with the participation of a group of musicians.

HR : Yes - it is a good song, I will vouch for that - I love the album - Time and Tide particularly. I would urge people to seek it out ... You’ve touched briefly on your hearing, and having to work around that these days -  You’ve found a new love for performing , so apart from your ‘altered soundscape’, is it a different experience to when you were playing at first?

BP : Very different. In some ways I am more confident as I have a better idea of what I am doing these days. I can draw on a lot of material from my back catalogue. When I started I was too nervous about introducing my own songs into the act, and our focus was in being creative with other songs which we liked. I always tried to make some kind original statement in the interpretation of other material. That is something which continues today. I enjoy performing R&B tunes, for example - but if you want to hear the familiar arrangements get a juke box or go see a cover band! These days I love contact with the audience. Some musicians are less comfortable in a stage environment and just get their heads down and play, probably speaking very little. We don´t do lasers and dancing(!) but there is a performance element, which I like. Bruce Springsteen has talked about a time required to psych himself up, to go out and “be Bruce Springsteen”. I identify a lot because there is a zone which I find I must enter in order to pull it off. It´s a “front man” thing, probably.

HR : Haha! You know, I have learned over the years not to invade a ‘front man’s’ zone before he goes onstage ... I’m not sure people who haven’t grown up around the business ever truly appreciate what it takes to psyche yourself up, but - we’re onto at least the 3rd different theme if we go down that road now! Which, talking of 3rds, brings us nicely to your 3rd album - “Traveller” - which you’ve mentioned a couple of times there. It’s just been released, and is sort of a retrospective collection of songs about your own journey through life ... was it an emotional album to make?

BP : Well I am not sure it is ALL about my journey through life. Some of it has to be of course, but I wanted it not only to be about an individual experience but through character songs, which most are, to reference a commonality. You must have experienced that thing of thinking “I wonder if other people have felt this way? “ ... This is personal, individual, as I perceive it, but with millions of people on the planet I can´t be “the only one”. Some of TRAVELLER was personal and emotions do come into play, yes . I had a lot of material so the final choice of songs, the sequence, even the time between tracks was something I paid a lot of attention to. In an age where few people play an album right through and listen as we used to, this was perhaps, superfluous, but I wanted the experience to be there for anyone who elected to listen in this manner. HR : How did you decide on which tracks, or journeys, to include?

I had around fifty songs - some accumulated over time and others newly written. I had the song “Traveller” and had wanted to loosely base an album around the idea of each of us being a traveller and that each of life´s experiences may be perceived as a small journey, each of which contribute to our life story and the greater journey. My task then was to choose songs which would reflect some of these experiences. I knew right away that I could reference various musical styles - dip into musical waters I have sailed in, and that this might enhance the sense of variation in our experiences. I threw out any ideas of chronology right away. It is not, nor is it meant to be, my life story. The label calls it an “acoustic road movie” and I like that. My deliberations regarding sequence was about taking the listener through a series of moods. The opening song “Land of the Night Games” is about falling into the dream state. Dreams do not follow any conscious logic. They just are. I wanted to start with this as a preparation. To give myself and the listener permission to go anywhere. In this way themes like sex, loss, our spiritual quest, death, faith, joy, reflection etc. can be explored whether I have written from a personal perspective or in character, which I do quite a lot. “Angel of Death” for example, is not about me, although each of us will cross that bridge eventually. I could talk at length about how this came about, as I could with each of the songs if time and space would allow. I am not sure how important or even interesting this would be. Suffice to say that there was a song called “Oh Death” which was part of the African American blues / folk story which I never forgot. Library of Congress stuff. Alan Lomax was the Marco Polo of American folk music. Without his obsession and tireless enthusiasm we would have none of these recordings. There is more to this shit than Robert Johnson!

HR : HAHA! Well, musically, I think it’s fairly eclectic - for anyone wishing to check it out, there’s some blues, rock n roll, funk, a good helping of classic rock, some great guitar work, it’s a little jazzy in places, with a hint of country, and even a ‘nod’ to Bruce Springsteen -  generically the influences are clear, but how much have you been influenced by other musicians?

BP : Now we are into an area I enjoy talking about, because this relates to my own journey! I have inevitably been influenced by everything I have heard. I have been required to play in different styles / situations so I guess it is not too difficult to slot into different genres. As a writer my only limitations are to do with technical ability. First and foremost I am a music fan, so when I am noodling and something comes up, some kind of shape, I try not to hinder the process. I try to get Brian out of the way and listen. At some point I might think “ah this is kind of an R&B thing”. The task then becomes trying not to be too generic - not to churn out a musical cliche´. On TRAVELLER I had no problem developing the songs consciously drawing upon different genres - so that “Slow Riding” for example is absolutely recognizable as coming from a “soul” tradition, but hopefully with modern production values and some arrangement features which are not purely from that time. Your comment about different styles on the album is precisely the obstacle which kept labels from getting involved in the 80s and beyond. “We don´t know how to market you. Are you Rock? Blues? Soul / Funk? Prog?” The answer would have been “yes”  .

HR : At least you have the freedom to create now ... We talked earlier about your musical peers in the 70s - many of whom WE, the fans, would call our ‘heroes’, but I guess to you they were just friends - so beyond them, have you any defining moments where you’ve met or worked with the people you’ve looked up to? BP : It is always great to play with people who are good at what they do. In my early teens I saw what you might call a “pop exploitation” film which included Little Richard and a clip of Gene Vincent doing “Be Bop-Alula” which galvanised me. Just a couple of years later I was playing with him. For a young musician it was like winning the lottery. I was and still am in awe of George Martin, from whom I learned a great deal. Peter Green was a good friend of mine back in the day, although we lost contact as he became increasingly withdrawn and suffered mental problems.  A truly gentle soul - and I am glad that he is around and still playing. Herbie Hancock got up with my band a year or two after my solo album came out and blew us away.  He only inspired me to practice! I worked with Eric Burdon, as you may know, and played a Wembley concert with him and Carlos Santana. I met Carlos and his wonderful band back stage and marvelled at what they were doing together. Their example of interaction is something I took away with me. Years later I wrote a Latin style tune - not really my forte ´style wise, but a good song and maybe I was drawing on the Santana experience. I think a writer is like a magpie ! Those birds steal things, and I strictly avoid that, but I certainly borrow stuff. I have contact to many people whom I hold in high regard. I met Albert Lee on a Jerry Lee Lewis session in the 70s and we catch up when he gets to Germany - He lives in California where some of my British musical friends (Tony Kaye, Brian Chatton ) are living. They hang out together certainly, but I am happily ensconced miles away, here in North Germany where I have a small circle of musicians as friends. Otherwise I meet some great musicians who come through to play the Music Hall where I live, including my big favourites - Little Feat, our friend Eric Burdon played here not long ago. I get to meet them when they come through but writing is mostly a solitary occupation, so I am pretty much in studio captivity. I do socialise a little and for example Blue Weaver, veteran keyboard man from the Strawbs, Bee Gees and before that, Amen Corner is a really good friend who lives here in the village. Not surprisingly he is on a couple of tracks of TRAVELLER , and he is my “go to “ guy if I have technical problems - He is way better than me with technology. A half a step away from being a gadget freak. He is always telling me of the new toys he has bought for his studio. So there are dinners and inevitable improv sessions.

HR : I saw that Blue is on the album too - It’s a really interesting record, and you’ve paid a great deal of attention to the ‘whole package’ - the artwork etc ... in a way you’ve referenced an answer to this question already. With regards to the way that people listen to, and experience an album in a digital age - do you feel that somewhere in the evolution music, we’ve genuinley lost something?

BP : Each generation believes that their time is the best. The young discover sex and somehow think they are the first despite the biological contradictions inherent in having parents! It is common for the older generation to be nostalgic and trumpet “It was better in our day!”. So maybe if we accept that knowledge as a given we might still consider that some things may actually have been genuinely better even when not viewed through the rose coloured glasses of age. So, yes, the packaging was definitely an attempt to provide an interesting visual aide as with some of the album sleeves from the classic rock times.  There are the obvious examples among the “prog rock” fraternity. I designed a booklet with lyrics and photo montage illustrations, fully realising that most people today do not listen to music in the depth that we used to, much less sit reading the sleeve notes and illustrations. A 12 “ album sleeve was of course a better canvass to work on. I need glasses to read my booklet ! I hope the music stands up well alone. It is not in the Gothic / mock Classical style we might think of if we talk of “concept” albums, But I am fond of saying I have just released the last concept album - but hopefully it is not all too cerebral. I want the layers to be there if you look for them, but equally the listener can read the lyrics, comments and credits and just enjoy the pictures without seeking any explanation. In an age where everything is commodity music is not regarded as “art” by most people. It has to compete with video games, all kinds of apps and other entertainment options, so the sense of wonder has left the planet, and creative people are less revered. Folks mainly think that everything is digitally programmed! Few think about the writing I suspect. There is an interesting documentary on the late Tom Dowd, legendary producer of Coltrane, Aretha, Allman Brothers, Eric Clapton and many more. He could accept that times and methods change but lamented the fact that so little music today is performance driven. He talks about computers and plug ins from “Toys R Us” and the heavy use of samples etc. Understandably he maintained we have lost something. We have so many programmes and techniques used to recreate the sound and excitement generated in a time when the tracks were recorded live on analogue machines. It is supremely ironic.

I know I am being very “wordy” in my answer to this question. Simply put, I know that most download one song at a time and have little patience to sit and listen to an entire album created as a single piece of work. The concept is alien. Many cannot even listen to one song without looking at selfies on their cell phones, texting a friend.  Multi tasking is seldom spiritual. People are not in the moment, are seldom able to do one thing at a time. The attention span of people these days is ridiculously short. I have noticed some people are incapable of listening to one song through without talking, interjecting . It is disrespectful to the artiste, of course, but people do not intend this.  

I had a decision to make. In the face of some of negativity, people were saying “why produce a CD? Almost no one buys them” and “ Forget about doing a book. Who will read it? Put the information on your website if you wish. That way your true fans can access it-but otherwise forget it”  ... I did the book despite this and the label love it, thankfully.  I wanted to make some kind of statement. The album and booklet are there in one package should you wish to listen and experience the project as we used to. I doubt that I will do anything like this in future, although songs are already in the pipeline.

HR : Well I, and I am sure anyone reading this will also be interested in whatever you produce for us down the line ...  but for now - do you have any great words of wisdom to impart to your fellow travellers?