Robin Trower Interview: The Guitar Supremacy of Trower Continues to Spellbound

By Ray Shasho

Robin Trower has everlastingly mesmerized rock enthusiasts across the planet with his intricate heavy rock and blues harmonics. The master of the Stratocaster recently released roots and branches an inventive mix of cover tunes spotlighting Robin’s favorite R&B, blues and early rock ‘n’ roll classics compiled with several explosive new tracks of Trower material.

The most memorable cover tracks of roots and branches is Trower’s impressive blues rendition of the Willie Dixon penned, “Little Red Rooster,” Arthur “Big Boy” Crudup’s, “That’s Alright (Mama),” and the Booker T. Jones/ William Bell composition “Born Under a Bad Sign.” Robin Trower instills the magic of his own genius into these timeless classics. Trower’s heavier rock and blues adaptation of “That’s Alright Mama” should inspire generations for years to come.

My favorite tunes on roots and branches are the back to basics Trower arrangements of “See My Life” and “Sheltered Moon.” “See My Life” runs deep; it’s an incredible hard rockin’ blues composition that wails … Trower Power!
Robin Trower has also established himself as a first-rate rock vocalist. Although Trower contributed vocals while with Procol Harum, during his quintessential period with legendary music partner and friend James Dewar … Trower’s only voice contribution to the classic lineup was a short dialogue at the beginning of the track, “Twice Removed from Yesterday. …I gave roots and branches (5) five stars.

 The BEGINNING: In 1960, the British guitarist formed The Paramounts, which would eventually evolve into the progressive rock band Procol Harum. The Paramounts lone hit was a cover version of The Coasters classic, “Poison Ivy” (1964 #35 U.K Singles Chart). The Paramounts split-up in 1966.
 
PROCOL HARUM was formed in 1967 by The Paramounts Gary Brooker, lyricist Keith Reid, Matthew Fisher, Ray Royer and Dave Knights. After the immediate success of their Top 40 hit single, “A Whiter Shade of Pale” (#5 U.S. Charts), the band added former Paramounts drummer B.J. Wilson and Robin Trower who replaced Ray Royer on guitar. The new lineup strengthened the band musically in preparation for touring. Ex Paramount Chris Copping joined the band by Procol Harum’s fourth release. The group scored Top 40 commercial success again in 1972 with the hit single, “Conquistador” (#16 on Billboard’s Hot 100). Progressive rock pioneers Procol Harum familiarized the world with their eclectic mix of symphonic rock, blues and R&B music.

Robin Trower recorded five studio albums as a member of the group … Procol Harum (1967), Shine on Brightly (1968), A Salty Dog (1969), Home (1970) and Broken Barricades (1971). Robin Trower later appeared on The Prodigal Stranger (1991) and The Long Goodbye (1995).

Trower left Procol Harum to form his own band. He teamed up briefly with singer/songwriter Frankie Miller, drummer Clive Bunker (Jethro Tull) and bassist/vocalist James Dewar (Stone The Crows) to form Jude. The group never recorded an album and soon disbanded.

THE POWER TRIO: In 1973, the inception of a new power trio would epitomize what would become Robin Trower. James Dewar on lead vocals and bass, Robin Trower on guitars and Reg Isidore on drums launched their brilliant debut album entitled, Twice Removed From Yesterday. Most of the songs on the album were written by Trower and Dewar. The album was the first of many recorded on the British Chrysalis Record label created by Chris Wright and Terry Ellis (Jethro Tull).
Robin Trower’s guitar styles were immediately correlated with Jim Hendrix. Critiques hurried to dub him “The White Hendrix.” I say to those critics …

You didn’t listen closely enough to the music. From the very beginning, Trower developed a very unique style of his own. Trower’s ingredients included a heavy dose of hypnotic rock with progressive, blues, acid rock and R&B overtones. The metaphysical lyrical content was delivered by the commanding voice of James Dewar. The mesmerizing musical qualities of Trower and Dewar instantly transported the listener’s mind musically into other worlds and dimensions. Of course there were guitar techniques that were similarities to Hendrix but Trower grasped the means and created a brave new style.

Twice Removed From Yesterday established many of Trower’s touring setlist classics … the hypnotic “Daydream,” the unyielding “I Can’t Wait Much Longer,” the blues standard, “Rock Me Baby,” and my personal favorite track “Ballerina” spotlighting the haunting vocalizations of James Dewar. The album became certified gold.

Robin Trower’s next album, Bridge of Sighs (#7 on the U.S. Charts) became a huge commercial success and one of the most critically acclaimed albums in rock history. It was now evident that the band had created a certain musical mystique and allure over its listeners. Every song on the album was brilliantly composed and performed. The title track, “Bridge of Sighs” would become Robin Trower’s anthem.

In 1975, Robin Trower released For Earth Below. A magnificently engineered album produced by Procol Harum bandmate Matthew Fisher. Fisher also produced the first two Trower albums but this would be his last. Drummer Reg Isidore was replaced with Bill Lordan (Sly & The Family Stone).
Long Misty Days was released in 1976. The album reflected vintage Trower arrangements while the single, “Caledonia” actually found its way onto mainstream radio playlists. The album, Robin Trower Live was also released that same year.

In 1977, Rustee Allen (Sly & The Family Stone) was brought in to play bass so James Dewar could relax his role as the bands lead vocalist. The group also established itself as a mega concert attraction selling out arenas and stadiums worldwide and appearing on national television and radio syndicated music shows. In City Dreams, their fifth studio album was also released that year and became the bands fifth consecutive certified gold album.

Subsequent albums with James Dewar on vocals … Caravan to Midnight (1978), Victims of the Fury (1979) and Back It Up (1983).

Robin Trower Live releases … Robin Trower Live (1976), Beyond The Mist (1985), Live In Concert (1992), In Concert (1996), King Biscuit Flower Hour Presents Robin Trower (1996), This Was Now ’74-’98(1999), Living Out Of Time (2005), RT @ RO 08(2008), Robin Trower at The BBC 1973-1975(2011).

In 1981, Robin Trower began a musical collaboration with Jack Bruce (Cream vocalist and bassist) with their debut album B.L.T. (Bruce - Lordan -Trower).

Subsequent albums featuring Jack Bruce on vocals and bass … Truce (1981), Seven Moons (2008) and Seven Moons Live (2009).

The 1983 release Back It Up brought in Dave Bronze on bass and Alan Clarke on drums. It would also be the final album featuring their legendary vocalist James Dewar.
In 1987, longtime Trower lead vocalist and bassist James Dewar became disabled after a medical error damaged his brain. A new Trower lineup was announced that included vocalist Davey Pattison of the Ronnie Montrose inspired rock band Gamma. The band released the album Passion.

Subsequent albums with Davey Pattison on vocals … Take What You Need (1988), In the Line of Fire (1990), Living Out of Time (2003), Another Days Blues (2005), RT @ RO 08(2009) and The Playful Heart (2010).

Robin Trower began a musical collaboration with Bryan Ferry (Roxy Music) in 1993 on the album Taxi which he also co-produced.

Subsequent albums with Bryan Ferry… Mamouna (1994) and Dylanesque (2007).

In 1994, Robin Trower released 20th Century Blues featuring Livingstone Brown on vocals and bass.

In 1997, Someday Blues spotlighted Robin Trower singing lead vocals.

Subsequent albums featuring Robin Trower on vocals … Go My Way (2000), What Lies Beneath (2009) and roots and branches (2013).

Robin Trower’s incomparable vocalist and bassist James Dewar died in 2002. Longtime Trower drummer Reg Isidore died in 2009.

I had the great pleasure of chatting with Robin Trower recently about his latest album roots and branches and about an amazing music career that has spanned over five decades. He’s a soft spoken gentleman and just a really nice guy. It became evident to me that his love of writing music, creating new ideas and playing the guitar, always has and will forever be his passion. He also hinted about another new Robin Trower album.

Robin had recently celebrated his 68th birthday.
Here’s my interview with guitar virtuoso/singer/songwriter/ producer … ROBIN TROWER.
Ray Shasho: Hello Robin …happy belated birthday to you!
Robin Trower: “Hello Ray and thank you very much.”
Ray Shasho: How’s the weather in London?
Robin Trower: “Very cold and a lot of snow about, not as much here in Hampshire but in Sussex they’ve had a helluva lot of snow.”
Ray Shasho: Your manager Derek Sutton called me earlier to make sure I was onboard with the time change. I consider Derek one of the very few geniuses left in the music industry. He sounds like a great guy too; it must be a pleasure to work with Derek.
Robin Trower: “Yes, fantastic, he looks after me and made it possible for me to make the music that I want to make and the records that I want to make.”
Ray Shasho: British artists I’ve interviewed tell me, while growing up in England; it was difficult to find radio stations to listen to early American blues and rock and roll. In fact, there weren’t many radio stations at all?
Robin Trower: “It was difficult, especially to get a hold of black music. Basically we only had one radio station and that was the BBC, they didn’t play rock and roll until they brought in Radio 1. But there were people who would bring music in and buy records from America. I was lucky enough to know a guy that had a communication with somebody at a record store in Memphis, and he used to send him a lot of stuff. So I was really lucky and got to hear music that a lot of other people weren’t hearing in Britain.”
Ray Shasho: I heard that black music… or early American blues, were only heard on underground radio stations.
Robin Trower: “Music like Howlin’ Wolf and Muddy Waters, when they first came out in America, it was not released in Britain. So we got it a bit later. Also a guy named Guy Stevens opened up a specialist label called Pye International and he used to bring in stuff like that and release it in Britain.”
Ray Shasho: Robin, I understand that you were heavily influenced by R&B music, who was your favorite artist?
Robin Trower: “Early James Brown was a very big influence for me; he’s still my favorite artist even now, especially his live albums like, ‘Live at The Apollo’ which is exceptional and so inspired me. He set a standard with his band and his music and took it to a whole new level, it became a benchmark. Not only that, obviously there was a lot of other music, like I said …Howlin’ Wolf, Muddy Waters, B.B. King, Albert King being my favorite blues guitar player, Jimi Hendrix my favorite rock and roll guitar player … there’s a lot of people who are important to me. But I was definitely inspired by rhythm and blues and popular music from America.”
Ray Shasho: Music critics always used to compare you to Jimi Hendrix … maybe some of your techniques were similar but I always heard a totally different sound and style.
Robin Trower: “Obviously he was a big influence on me, especially early on when I first started my band. But I always felt the songwriting and music I wrote were definitely my own.”
Ray Shasho: I really enjoyed your new release roots and branches and especially the way you added your signature sound to those classic cover tunes that obviously meant a lot to you.
Robin Trower: “Yea, these are some of the songs that got me interested in music, wanting to play guitar and all that kind of thing when I was young and they’re still some of my favorite songs, just great songs.”
Ray Shasho: My favorite song on the album was not a cover tune; it’s a brand new composition entitled “See My Life,” an incredible tune that wails Trower Power!
Robin Trower: “That’s the only song on there that was actually done live. Actually the whole thing went down in one take. Most of it was recorded in the same studio apart from some of the overdubs; the organ was done at a different studio and I did a couple of vocals when we were mixing at Livingstone Brown’s Studio.”
Ray Shasho: My favorite cover tune on the album was “That’s Alright Mama” …just fantastic!
Robin Trower: “Thank you very much. With that one and “Hound Dog” I was more thinking about the original versions … the original, “That’s All Right” being Arthur “Big Boy” Crudup and the original, “Hound Dog” was Big Mama Thornton. With all the old songs that I’ve done versions of I didn’t go and listen to them, I just did them roughly from memory because I didn’t want to be influenced at all by the original version. I just used a skeleton idea of the song and came up with my own music for it, more or less like I’ve written the tune myself and came up with it.”
Ray Shasho: It’s amazing how many artists have made a living recording and playing mostly cover tunes. I think in your case it’s the complete opposite, that’s why this latest album is so rare and different.
Robin Trower: “I’ve been very fortunate …I continue to write and continue to come up with ideas. I’m very lucky in that way. I’ve obviously written a lot of songs and I’m still churning them out. The engine is my love of playing the guitar, that’s what drives the whole thing along.”
Ray Shasho: You’ve also stayed motivated, which is difficult to do, especially as we get older. How do you continue to stay so motivated?
Robin Trower: “The thing is …you always think the next thing you do is going to be great. That’s it! I’m going to do something great one day. Keep trying to do that thing that you’re going to be really-really happy with.”
Ray Shasho: Robin, you’ve already done so many great things.
Robin Trower: “I’m not ready to give up yet though. This morning I finished the arrangement for the eleventh new song, which I feel there’s enough for a new album.”
Ray Shasho: What is your process for writing new material?
Robin Trower: “I just write on guitar. I’ve got one of these Sony professional handheld recorders and I use a notepad to jot down all the ideas as I go. I’m continually updating it as I improve an idea until I’m happy with the material.”
Ray Shasho: There’s a new Jimi Hendrix album out entitled, People, Hell and Angels with twelve unreleased studio recordings and featuring guest artists. I was wondering if you listened to the album and also I understand you met Hendrix, but only briefly.
Robin Trower: “I haven’t heard it … but I’ll have to look out for it, if you say it’s good. I met Hendrix briefly while playing with Procol Harum; we were on the bill with him in Berlin. It was just a hello and goodbye sort of thing and that was it.”
Ray Shasho: In my opinion, James Dewar was one of the greatest rock voices the world has ever known, and an awesome bass player. The musical chemistry between you and he was so incredibly powerful, and the songs were mesmerizing.
Robin Trower: “Well, hopefully that’s what you hope to achieve with music, to make people feel like it’s taking them somewhere, that’s the ideal effect you should have with music. Jimmy was very gifted and he had a wonderful voice. We had a fantastic relationship, we were like brothers. We worked very-very well together; he was such a sweet guy.”
Ray Shasho: Not a lot is mentioned about how Jimmy Dewar left us. What I’ve read was a medical error left him handicapped and then years later he had a stroke that ended his life.
Robin Trower: “I’m not really sure and I don’t think anyone is really sure what happened. I spoke to his wife after it happened and she didn’t even seem certain about it, it’s just one of those things you know … but something happened.”
Ray Shasho: Do you still speak with Jimmy’s children?
Robin Trower: “Whenever I’m touring in Britain, I usually play Glasgow and see all three of his daughters. They’re all in their late 30’s or so now.”
Ray Shasho: I’d have a hard time visualizing Robin Trower playing acoustic guitar onstage, has it ever crossed your mind during your career?
Robin Trower: “Not really. I’m not very good at acoustic guitar playing really (laughing). I enjoy working on it because it gives you a different texture and maybe pushes you in different areas. But I play electric guitar, that’s my instrument.”
Ray Shasho: I heard you had a reunion with your old bandmates The Paramounts?
Robin Trower: “Yea, actually four years ago we did a Christmas show at one of the little Pubs we used to play in when we were together. It was a lot of fun and I really enjoyed it. The Paramounts were a good little band. We never broke through into the mainstream but we did quite well.”
Ray Shasho: Then of course many of your Paramount bandmates morphed into Procol Harum.
Robin Trower: “Gary Brooker started writing and that was really the core of Procol Harum … his composition.”
Ray Shasho: Procol Harum is a great band but I’m so glad that you left; the world may never have found out who the real Robin Trower was.
Robin Trower: “I wouldn’t have found out. (All laughing) They were writing so many songs and pieces and there wasn’t any room for me, so I had to leave.”
Ray Shasho: The first time I heard you sing I was completely blown away because you never sang. I think the only time I ever heard your voice during the James Dewar days was on the beginning of “Twice Removed From Yesterday” correct?
Robin Trower: “Yes, I did a talking thing, and that was the only vocals I did while Jimmy was with me. I hadn’t been singing because we had such great singers. But I did sing in Procol Harum.”
Ray Shasho: “I think you’re a great singer.” I became a fan of Robin Trower as a singer on the album Go My Way, especially the tracks “Breathless” and “Go My Way.” I thought the album was exceptionally good.
Robin Trower: “Thank you! I think what’s interesting when you are singing is that you’re writing is different and I think that’s given me a different outlet musically, because I’m working on the voice rather than coming up with a melody idea. It’s been a completely different thing and that’s been very interesting and in particular with this new batch of songs I’ve come up with, it definitely led me into some different areas.”
Ray Shasho: How about a sneak preview of what we may expect on the next album once it’s completed?
Robin Trower: “It flows on from roots and branches, that’s what I would say. I think roots and branches have opened up an avenue in terms of the writing and I’m really enjoying the moment, its seeming to come together really great.”
Ray Shasho: Robin, I ask this question to everyone that I interview. If you had a ‘Field of Dreams Wish’ like the movie, to play, sing or collaborate with anyone from the past or present, who would that be?
Robin Trower: “I would play with James Brown.”
Ray Shasho: “I figured it would either be James Brown or Jimi Hendrix.”
Robin Trower: “No, I wouldn’t play with Jimi Hendrix, he’s too good. (All laughing)”
Ray Shasho: Thank you Robin for being on the call today and more importantly for all the incredible music you give to us. Go on tour soon and please don’t forget about Florida dates.
Robin Trower: “I sure will it’s been nice talking with you Ray … Cheers!”

Robin Trower official website www.trowerpower.com
Order roots and branches Robin Trower’s very latest release at amazon.com
Very special thanks to “The Great” Derek Sutton and David Maida.

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

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com - Please support Ray so he can continue to bring you quality classic rock music reporting. 
~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

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Eric Johnson Interview: An Extraordinary And Diverse Guitarist With Rock Fusion Mastery

By Ray Shasho

Texan, singer, songwriter, producer and guitar player extraordinaire Eric Johnson will be launching his worldwide tour from Florida. Johnson will be performing at five different Florida venues before traveling to the Netherlands, UK and Italy. The tour returns back to the U.S. in August. The tour kicks off in Pensacola on June 26th with a stopover in Clearwater at the Capitol Theatre on Saturday June 30th. For tickets visit www.rutheckerdhall.com.

Eric Johnson released his sixth studio album in late 2010 entitled Up Close. The 15-track disc features guest performances by Steve Miller, Jimmie Vaughan, Sonny Landreth, Jonny Lang and Malford Milligan .The recording is also available on 12 inch vinyl at www.ericjohnson.com.

Eric Johnson began playing guitar at the age of 11. He played with his first touring band in 1968, a psychedelic group called Mariani. The band shared the bill with ZZ Top and Bloodrock in their home state of Texas. Johnson was trained in classical music but was heavily influence by the guitar styles of Jimi Hendrix and hard rock rhythms of Led Zeppelin. In 1974, he joined a rock/jazz fusion group called The Electromagnets. The Magnets shared the stage with bands like Kiss and Mahogany Rush.

Eric Johnson recorded Seven Worlds his first solo album after the band’s break up.
Johnson later became a highly sought session guitarist working with legendary artists Cat Stevens, Carole King and Christopher Cross to name a few. In 1986, his critically acclaimed album Tones landed him on the front cover of Guitar Player Magazine. The cover story about Johnson heightened his credentials in the music world and brought the virtuoso critical praise. The album’s track “Zap” was also nominated for a Grammy Award for Best Rock Instrumental Performance.

In 1990, Eric Johnson released his platinum selling third album Ah Via Musicom. His illustrious recording of “Cliffs of Dover” won him a 1991 Grammy Award for Best Rock Instrumental Performance. (“Cliffs of Dover” currently has almost 9-million views on You Tube).

In 2005, Eric Johnson’s fifth studio release Bloom generated a fifth Grammy Award Nomination. Johnson was invited to play on Joe Satriani’s G3 Tour, The Crossroads Guitar Festival and the Experience Hendrix Tour. Johnson can please any audience because he enjoys playing any genre. He’s usually spotlighted for his electric performances, but Johnson is an exceptional acoustic player as well. I had the opportunity to chat with Eric this week about the tour and his intensifying career.

Here’s my interview with the Grammy Award winning guitar virtuoso, singer, songwriter and producer Eric Johnson.
Ray Shasho: Eric, thank you for being on the call today, how’s everything in Texas?
Eric Johnson: “Hey Ray how are you, everything’s good.”
Ray Shasho: So you’re headed over to Florida pretty soon?
Eric Johnson: “Yea, we are… we’re going to come play a few dates there and then go over to Europe and play there for a few weeks.”
Ray Shasho: It’s a rarity that major tours get launched from Florida, was there a specific reason you chose us … just got good vibes maybe?
Eric Johnson: “We were there a few months ago on the Hendrix Tour and talking to some people about bringing our own show there. So we kind of had that in the back of our minds and we had some time before going over to Europe, and I really hadn’t played in Florida for awhile so I thought we’d better go play some.”

“The Hendrix shows was a fun tour. It’s always nice to play Hendrix’s music and especially for some of the kids who aren’t familiar with his music, so it’s really good for them.”
Ray Shasho: I’d hate to imagine younger generations not wanting to learn about previous music eras, artists and cultures. I knew all about my parent’s generation and actually embraced it. I saw Sinatra and his incredible band five times in concert.
Eric Johnson: “Yea, there were some great musicians that they listened to; I really appreciate it even more now. What’s interesting is how music has evolved and so digitally processed, and you go back and listen to that stuff that was our parent’s music and it’s just amazing. If you take that same spirit and same music but put it into more of a modern rock context … it would smoke anything out there. There wouldn’t be anything that could hold a candle to it. Maybe the only thing that keeps it from being competitive and blowing everything away is just the fact it’s a different style of music that maybe a lot of people don’t relate to. But the musicality, the energy level and spontaneity of it is almost incomparable in this century.”
Ray Shasho: I’m guessing you don’t like to commit to playing a certain genre of music… and prefer it that way?
Eric Johnson: “Yea, kind of … because I just love all styles of music and being open and learning from it.”
Ray Shasho: So Eric … how many guitars do you own?
Eric Johnson: “I only own half as many as I use to, guess somewhere around 17 or 18. What’s interesting is that I get more enjoyment having less guitars and stuff because I like having everything adjusted just right so it works well, and so it drives you nutty. If you’ve got tons of stuff and your trying to keep everything working well you don’t get enough time to do anything but being a custodian. So I just got tired of that and decided I was more interested in making music than collecting guitars.”
Ray Shasho: I was always fascinated by musicians who tinkered with their equipment and experimented to create new sounds. How involved do you get personally in reinventing the wheel?
Eric Johnson: “Probably way too involved. (All laughing) You know there are some happy accidents out there or some interesting combinations that can make some real magic and so you keep chasing it …it’s like a gold mine. And you know when you can hear something and its real special … whenever that happens and experience that, it’s like going to the mountaintop, and it’s hard to live in the valley from then on because you’re always trying to stay on the mountaintop. But it’s kind of a double- edged sword; it can be keeping you away from what you need to be really doing.”
Ray Shasho: Do you have a signature guitar or amplifier developed and out there?
Eric Johnson: “I do … I have my own guitar out now and effects peddle and speaker out and I’ve been thinking about doing amplifiers, got a couple of amps that we’re thinking about maybe doing.”
Ray Shasho: I noticed that “Cliffs of Dover” currently has almost 9-million views on You Tube. Would you say that “Cliffs of Dover” was kind of like your “Stairway to Heaven?
Eric Johnson: “I think so yea, and it was just a tune that came to me really fast. I recorded it and played it for a friend and he said that’s kind of nice. And I said I don’t know what to call it. He said it sounds regal, why don’t you call it “Cliffs of Dover.” So I said … okay.”
Ray Shasho: The Alien Love Child was a very successful side project.
Eric Johnson: “Yea, that was a live thing we did, we recorded two or three nights at Antone’s and chose which of the three nights we liked. That was a fun band and a lot of improvisation.”
Ray Shasho: You were invited to play on the G3 Tour a bunch of times and also invited to play at The Crossroads Guitar Festival. Who were some of the artists that you shared the stage with?
Eric Johnson: “I did the first year… John Mayall, Steve Vai, Sonny Landreth, Billy Gibbons, John McLaughlin and of course Eric Clapton, Jeff Beck.”
Ray Shasho: I knew you were playing guitar professionally at an early age, but wasn’t aware that you toured with so many legendary bands.
Eric Johnson: “I started playing professionally when I was 13, joined Mariani at 15, and got into the Electromagnets when I was 19. But we played with bands like Mahogany Rush, Captain Beefheart and Kiss.”
Ray Shasho: If given the opportunity…what artist would you like to collaborate with?
Eric Johnson: “Stevie Wonder, I’ve always been a big fan of his … yea that would be cool.”
Ray Shasho: Eric, I hope to see you in Clearwater on June 30th and I may just write a review of the show.
Eric Johnson: “I’ll make sure that I tune up that night. And make sure you come on back and say hello.”
Ray Shasho: I sure will …thanks’ Eric see you in Florida.

Visit Eric Johnson’s official website at www.ericjohnson.com
Eric Johnson’s Florida concert dates … June 26- Pensacola, June 27 -Ponte Vedre, June 28- Orlando, June 29- Ft Lauderdale, June 30- Clearwater.
Order Eric Johnson’s latest CD Up Close on his website or at amazon.com
Buy tickets for guitar virtuoso Eric Johnson in concert at the Capitol Theatre in Clearwater Fl at www.rutheckerdhall.com
Special thanks to Chipster PR at www.chipsterpr.com

Contact columnist Ray Shasho at rockraymond.shasho@gmail.comOrder author/columnist Ray Shasho’s exciting new memoir ‘Check the Gs’ at amazon.com or barnesandnoble.com Available on Kindle or Nook for ONLY .99 Cents!~~Pacific Book Review says… I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

© Copyright rayshasho.com. All Rights Reserved

 

Exclusive Interview: Frank Marino Legendary Guitarist “I Can’t Play Guitar Without Severe Pain”

By Ray Shasho

Frank Marino is an invigorating virtuoso and champion guitar slinger who is also considered to be among the greatest players of all-time. The Montreal native and his assiduous band Mahogany Rush were one of the elite monster rock acts throughout the 70s.

The band performed on several prestigious television music shows including Don Kirshner’s Rock Concert and Burt Sugarman’s The Midnight Special hosted by the notorious Wolfman Jack. Marino jokingly stated in this interview that Mahogany Rush was mysteriously omitted from the Midnight Special DVD collector video library released to the public.
Mahogany Rush also played for more than 300,000 people at California Jam II in 1978. The televised concert featured Ted Nugent, Aerosmith, Santana, Dave Mason, Foreigner, Heart, Bob Welch (with Stevie Nicks and Mick Fleetwood), Frank Marino & Mahogany Rush and Rubicon.

Mahogany Rush was managed by Steve Leber and David Krebs, who also handled Aerosmith and Ted Nugent. Some of the bands most significant releases include, Maxoom, Child of the Novelty, Strange Universe, Mahogany Rush IV, World Anthem, Live, Tales of the Unexpected, What’s Next, From the Hip, Dragonfly(The best of Frank Marino & Mahogany Rush), Eye of the Storm, and Real Live!(double live album).

The Sicilian -Syrian Marino captured the essence of Jimi Hendrix early on in his career. Rock and roll urban legend suggests that when Marino was a teen he was visited by an apparition of Jimi Hendrix after a bad LSD trip, which led to the spirit of Hendrix entering Marino’s body and bestowing his ability to play the guitar. Marino renounces the fabrication and says Hendrix was still alive while he was in the hospital recuperating from the LSD trip. But he did learn to play the guitar while recovering.

Frank Marino was widely recognized throughout his career as a master for performing Hendrix cover tunes. Marino’s cover versions were impeccable and audiences globally would ultimately embrace them. His cover tunes were commercially successful (“Roadhouse Blues” The Doors, “All Along the Watchtower,” “Purple Haze” Jimi Hendrix) but Marino was never pleased about his original material receiving virtually no airplay on FM radio.
Marino retired from the music business but returned in 2001, largely galvanized by his fan base. Most recently Frank Marino has been suffering from adhesive capsulitis (frozen shoulder) and gradually recuperating. The condition usually resolves itself within one or two years but restricts mobility and can generate intense pain. Marino is receiving extensive physiotherapy. The condition began after Marino spent tedious immeasurable hours in his studio editing a meticulous task.

I had the great privilege of chatting with Frank Marino recently from his home in Montreal Canada about his current physical condition, the future of Mahogany Rush, and since it’s the NHL playoffs … a little hockey.
I found Marino to be fascinating, sociable, sympathetic, righteous and profound. He’s also just a genuine, down to earth, nice guy.
Here’s my interview with legendary guitar wizard/ singer/ songwriter/hockey aficionado/theology writer /Frank Marino.
Ray Shasho: Frank thank you for being on the call today. The tape is rolling … (Laughing)
Frank Marino: “I’m glad you’re doing this on tape because I can’t stand emails.”
Ray Shasho: Being from Montreal are you a big hockey fan?
Frank Marino: “I’m an extremely big hockey fan! I’ve been a fan since 1955. I was a Montreal Habs fan until 1989, then stopped being a Habs fan and started becoming an everything hockey fan. I just love the game and it doesn’t really matter who’s playing as long as they’re playing it right. You can play hockey right and you can play hockey wrong and I don’t like teams who do it the wrong way.”
Ray Shasho: Frank, what do you consider playing hockey the wrong way?
Frank Marino: “The wrong way would be not paying attention to the details of the game. Not having passion for playing the game. I’m not a big fan of east-west style hockey, when you’re not going directly north and south to the net. Growing up in Montreal … the way to play hockey was to drive the net and you check … basically football on ice.”
Ray Shasho: You’re half Syrian? My father’s family was Syrian Jews. And of course they had to get the heck out of Syria and finally came to America in the early 1900’s via Ellis Island.
Frank Marino: “My mother is Christian Syrian and my father was Sicilian. Believe it or not my grandmother had to get the heck out of Syria because she was a Syrian Christian. It wasn’t just the Syrian Jews who had the problem. But we’re Orthodox Christian from Antioch. My mother actually speaks Ancient Aramaic … we’re a very biblical family. Our original church is in Antioch Syria, the first church established outside of Jerusalem over a thousand years ago.”
Ray Shasho: A lot of rock bands have incorporated Arabic rhythms into many of their songs; Led Zeppelin was a good example.
Frank Marino: “I do a lot of music like that myself. I use to play Arabic music for my grandmother when she was alive. When I was very young I was a drummer … from the time I was five years old into my teens, and then picked it up again later on after my 30’s. But being a drummer you can’t help being attracted to that type of music, it was all beat related. And there are nuances to that kind of drumming. Often times in a pop tune we go very clearly from a verse to a chorus with a big change. In Arabic music they also go through changes but they’re very subtle changes in the tempo and timing and as a drummer I find that very interesting.”
Ray Shasho: I heard that you write Theology?
Frank Marino: “I’m a Religious guy; into Theology and study it quite a bit including Hebrew and Judaism.”
Ray Shasho: What led you towards that direction … was there a calling at some point in your life?
Frank Marino: “It was a long time ago, don’t forget we grew up as hippies in the 60s and after that culture we have to find ourselves. And a lot of people from the 60s will tell you, I spent a lot of time to try and find myself … well that’s what I found… I found that. It’s been forty years now that I’ve been doing this. But I live it and not just write about it. I live it on a very daily basis and have done so for decades. But the stuff I write is somewhat philosophical and mostly related to my understanding of ancient scripture including Hebrew scripture.”
Ray Shasho: How do you find the time to write and study Theology and then play rock and roll?
Frank Marino: “I’m a bit under pressure right now because I damaged my shoulder and really badly actually. It’s called adhesive capsulitis or frozen shoulder. Mahogany Rush did a show in Cleveland on December 12th and 13th at the Agora, and I’d never done a DVD, I waited ten years to finally do a DVD. The reason I waited was because I didn’t like or believe in them, and just don’t like the way they’re done. It’s too much selling and not enough art. I always wanted to do a different kind of DVD and finally found my chance to do it. The video crew for Bruce Springsteen just happened to be fans of mine and they offered their services to come and shoot this thing for me. We shot a twelve hour concert and basically we booked the place for two nights. One night was the Soundcheck, the next day from noon to midnight was the show… and we played everything. We didn’t stop, only had two breaks, but pretty much played all day. We filmed it all on seven cameras and very professionally on a really good looking DVD, which I had to assemble on some form of condensed show.”
“When I got home on the fourteenth of December … that was in 2010, and when I checked on the multitrack audio… the drums was damaged, the audio was damaged, because of a problem in the recording that no one had noticed. So I was left with a magnificent video shoot and no audio. So the only answer was to go into and find each beat that was damaged and replace them one by one. So that’s what I started doing on the fourteenth of December… and it’s like changing every blade of grass on your lawn one by one with a fork. So I started on the fourteenth of December and was so determined to do it that I sat for almost fifteen hours a day, seven days a week, until the next August. And what happened was I froze up my shoulder on the right side and didn’t realize what I was doing. I thought well… my shoulder is hurting me because I had a hard day but it got worse and worse.”
“It’s called frozen shoulder and what happens is the whole shoulder freezes up and you lose all your motion and the pain becomes unbearable. Then the rest of your muscles in your neck and back try to compensate and they become unbearable. Really the only way around it is to stop doing what you were doing and go to physiotherapy and restretch it out until it goes back to normal, but it can take one to three years to come back. I’m a year removed from it now, I stopped working on the video in September and I’ve only got five songs left. (Laughing) I’m hoping to get back to it by this summer. Only five tunes left and there’s like sixty.”
“Now I’ve restored motion to my arm and at least I can move it. I’ve got 50% movement in the arm. I can’t play guitar …I can’t put my arm around the body of the guitar. To play the guitar your elbow has to extend out from your body and that’s one of the motions I can’t do without serious pain. I get physiotherapy four days a week. The doctors say it will take one to three years to fully recoup the shoulder …it’s been a year now. Although I have movement … I haven’t lost the pain. I’m in constant pain 24/7.”
“Hopefully I’ll be able to get back to work soon, and once I finish the DVD… somehow package it, get out on the road again and do a few gigs.”
Ray Shasho: Frank, is there a way to hire a producer to finish the editing?
Frank Marino: “To tell you the truth Ray, there’s not a human being in the world that can do the kind of editing that I do. And I mean that sincerely and not giving myself credit. The system that I practically invented to do this kind of replacement … there is nobody that can do it, in fact I did speak with a bunch of people who are professionals at doing these things and every one of them said, forget it throw it away you’re not going to be able to do this. But I did, and probably because I’m an editor and a drummer and I really understand what I’m hearing. But you have to understand the drum tracks that we’re dealing with here …it’s not as if we simply have a drum track that sounds bad, we have a drum track that in some places it has completely disappeared. And when it hasn’t disappeared it sounds like an iPhone. So I have to basically discern exactly what the drummer is playing on every single strike and then I have to discern how hard he hit it, which drum he hit, and with which nuance, and I have to redo that and fix each piece one by one. I’m not improving anything just resurrecting it, kind of like restoring a painting. If it was just an album, I could just get the drummer to come back and play it again, but we can’t because he’s on video.”
Ray Shasho: When do you think the release date of the DVD might be?
Frank Marino: “I had hoped to have it done by last December and that’s why I was working like a maniac. Now it could take till next December or longer. But I can tell you this …the video looks magnificent. And I hope people like it because it’s the only DVD I’m ever going to do. (All Laughing)”
Ray Shasho: I loved those late night music shows in the 70’s that spotlighted the greatest artists of the decade … ABC’s In Concert, Don Kirshner’s Rock Concert. And I remember a particular episode of The Midnight Special that featured Dickey Betts, Elvin Bishop and Charlie Daniels Band. Then this hard rock band appeared and completely blew away the audience. I’ll never forget the look on their faces when Frank Marino & Mahogany Rush took the stage.
Frank Marino: “I remember that very well and I’ll tell you why… they had this host called Wolfman Jack and we did our version of Johnny B Goode, and my version of Johnny B. Goode is anything but the 50s rock and roll style, and it’s really unpolished, fuzzy, and distorted, and it’s got guitar solos in it. And after we did that he wanted to sing a verse of Johnny B. Goode while they went to commercial, and we had to go back to the tune and play Go Johnny Go, Go, Go while he stood there and sang Go Johnny Go, Go, Go and I thought it was really hokey. It was really weird…. I thought I was in some strange dream; normally I wouldn’t do something like that. Did you ever notice something Ray… they came out with this Midnight Special DVD package set and I’m the only guy not on it? I’m not on it man …everybody else is but me. (Laughing)”
“Well … I guess I never joined the party and sort of marched to my own drum. I don’t care about money, don’t have any, and don’t want any. And I certainly don’t care about fame… I really don’t like it. It goes against my religion to be famous. I’m just a guy who plays music and I got lucky, and people happened to see me, and people happened to like what I do. I certainly don’t take it seriously as if I’m saving the world with my music. I mean for crying out loud we’re not curing cancer here we’re just playing guitar. The only difference that I make by making a record, a video, or playing live, is that some people for the duration of that song or live show … have a good time. And that’s really the best way to make a difference. I think we’re all in this to have fun.”
Ray Shasho:I watched an interview you did that talked about commercial radio not playing any of your music unless it was one of your cover tunes.
Frank Marino: “As far as radio was concerned …it never really liked me. I had one #1 hit on the radio and it was called “Strange Dreams.” Then on the very year that I had the #1 hit, and after twelve years of the record company telling me… if you’d only get one hit everything will work … I left the record company and quit the business. Then I decided not to work with a major again and never did. My old band members got mad at me and they all ended up quitting because I wasn’t going to pursue it. So that’s just the way I am. I’m very happy that way, no regrets and I’m not bitter. And I thank God every day that he didn’t make me rich.”
“In 1989, I bought myself a studio. I went to the old studio that had all my old 24 track masters of all the records that I had done since Maxoom, all the way through Juggernaut. I went to get all my tapes over 600 of them and I found out that day some girl at the studio had been selling those tapes at night to bands to record on. My entire catalog of everything that I ever recorded was wiped out and does not exist. After I’m long gone there will be no history of my work except whatever was on the vinyl. That has never happened to a musician in the history of music. There isn’t a single musician in the history of rock music that hasn’t got their masters. My whole life was wiped out.”
Ray Shasho: I grew up in the Washington DC area and rock stations would religiously play your version of “Roadhouse Blues.”
Frank Marino: “See what I mean … another cover. “I’m A King Bee,” “Johnny B. Goode,” “Roadhouse Blues,” “Purple Haze,” “All Along The Watchtower” and that’s what was on the radio…it’s unbelievable and I think we had a lot of other stuff that could have done really well …even on that radio format.”
Ray Shasho: How was your relationship with Columbia Records?
Frank Marino: “The business people who found me and said oh boy we can make money with this kid …they would have liked me to be more proactive in terms of selling and caring about marketing. I was always at odds with them, always at war with them, because they wanted me to act like I wasn’t me and I wouldn’t do it …and I’m stubborn so it created problems. I got out of there as soon as the contract was over; it was just not for me. I once said to one of the big honcho’s at Columbia, you’re always boasting that you have 162 artists, because that’s how many they had, but all of our industry is based on the Top10. So if you’re happy with your artists being in the Top 10, that means there are 152 guys you don’t care about. Why are you signing with them just let them go. The thing that was wrong with our industry was Top 10 …Top 10 ...Top 10 to the exclusion of all else. Just because something is the Top 10 seller it’s not the Top 10 best. So a lot of guys with a lot of dreams got short shrifted by these people who basically paid all the attention to the Top 10 and in fact took the money from the lower 52 to boost the Top 10.”
Ray Shasho: Do you have children Frank?
Frank Marino: “I have three daughters … 18, 16 and 13. They’ve been on the road with me and involved in music with me since the day they were born… all three of them. They all became musicians and just on their own. My oldest daughter does classical voice, piano, clarinet, and writes symphonies. The middle one is the guitarist and the youngest one is going to be another guitarist. I was a cool dad. I was the type of dad that would say don’t go to school today. I’d take them on the road, take them all over the world, and they still got 90s and are honor students. This was the rule in my house Ray … when the kids came home from school I’d say no homework till you had fun. I’ve always had a kind of loose outlook about it and they turned out really good. I always joked that God brought up my kids and I didn’t because I would have failed miserably.”
Ray Shasho: Are you friends with fellow Canadian rock musicians?
Frank Marino: “I’m friends with everybody … but the only one I speak with on a call up basis is Myles Goodwyn of April Wine because I go back with him since 1971, and also the guys who were the original musicians in that band. Anybody else …Rush or other Canadian bands, certainly if I bump onto them it’s “Hey Frank how are you, are you working?” and that kind of thing. But I wouldn’t say that we’re on the telephone or anything.”
“But I’m kind of recluse, not because I’m paranoid or anything, I’m just not interested in going anywhere. (All laughing) I’ve got three daughters that love me and I love them, a wife that loves me and I love her, my mother lives next door… why do I want to go anywhere. I’m surrounded by females that cater to me and there’s nothing better in the world then that. Ask any guy that question.”
Ray Shasho: You were one of the first guitarists to start playing Hendrix style music after his passing.
Frank Marino: “I was the first guy in history literally to take public what Jimi Hendrix was doing other than Jimi Hendrix. There was no other guy before me… and I was only 16 years old… and I was Canadian …and I was white …and I played an SG. So it was like no, no, no, no. Then they invented these stories about reincarnation.”
Ray Shasho: Frank, talk about how Jimi Hendrix visited you as an apparition and entered your body … urban legend?
Frank Marino: “This stuff was invented by Circus Magazine and Creem Magazine. I went to the hospital in 1968 and Jimi Hendrix didn’t die till 1970. I told them where are you getting this reincarnation thing, where was he if he was supposed to be in my body for two years. So this story filtered when we started to get known and every single show I went to …I’m telling you Ray… with the exception of two or three bands …I was completely shunned. No one would talk to me. I had the same management as Aerosmith and Nugent for seven years and those guys didn’t start talking to me for three years. In 1971, one year after the death of Hendrix, I played on a float, a parade to commemorate his death. I played for three hours on a float across the city doing nothing but his tunes. And it was almost like … how dare you? You can’t do that. I use to say this …I even got the old article… "You’re condemning me for doing this now, but one day this style of guitar will be the way that everyone will be judged by." And it is. It became true.”
Ray Shasho: What did you think about playing at California Jam II?
Frank Marino: “I hated Cal Jam. It was the complete microcosm of everything I thought was wrong with the rock and roll concert. All the bands there had a great time, I know they did I watched it, but I was backstage just feeling like I want to go home. Because from my point of view it was Entertainment Tonight, I hated it. I didn’t hate the gig …I hated leading up to the gig. I played at one o’clock in the morning and had to play after Aerosmith. At the end of Cal Jam when I did my encore (I played for ninety minutes) … what do you think was shown when they finally put it on TV? …“Purple Haze!” I played for ninety minutes and they showed “Purple Haze” which was my second encore. At the end of “Purple Haze” I played the Mickey Mouse theme. And that’s what I thought of the show. It was anything but the highlight in my life.”
Ray Shasho: I realize you’ve been more or less sidelined and in serious pain … but what’s next Frank?
Frank Marino: “I did a song for this local singer, she’s actually American but she’s become very famous here in Quebec, her name is Nanette Workman. She asked me to play guitar on one of her tunes in which she did a cover of “Wild Horses” by The Stones. So she asked me to play in Quebec City at a big show and come play the song. So I told her yea even though I’m not in shape to do it. So I’m hoping by July 15th I’ll be okay to just play one song. I think I can probably play one song. So there’s no plan right now until (A) I get better (B) I finish the DVD and then will see what’s going to transpire.”
Ray Shasho: Thank you Frank for being on the call today and for all the great music you gave us over the years. We wish you well and a speedy recovery! We’re also looking forward to the DVD and future concert dates from Frank Marino & Mahogany Rush.
Frank Marino: “Thanks Ray … please stay in touch.”

Frank Marino & Mahogany Rush official website www.mahoganyrush.com
Purchase Frank Marino & Mahogany Rush music at www.mahoganyrush.com/albums.htm or amazon.com

Coming up next… Happy Together Tour 2012 including recent interviews with Micky Dolenz of the Monkees and Gary Puckett of The Union Gap.

Contact Ray Shasho at rockraymond.shasho@gmail.com

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