Some performers play the Pony, others take it over and have a party. On Saturday, February 16th, Gary U.S. Bonds returns to Asbury Park to throw another party, not to mention a drunken sing-along, with all his friends.  Bonds, best known for songs such as "Quarter to Three", called one of the great party records of all-time, "Dedication", "This Little Girl of Mine" and "Out of Work", has become a crowd favorite at the club. His shows are always exciting and energetic affairs where the crowd and performer enjoy their interaction with each other.  Bonds, who recorded a live album at the Pony in November 2000, began his successful career as a songwriter and performer in the 1960s, and saw his career revitalized through an association with long-time fans Bruce Springsteen and Steven Van Zandt.  The newsletter managed to catch Bonds on a rare day off prior to his upcoming Pony performance, to ask about his career, some of his famous friends, and the dedication of Stone Pony fans.

The Stone Pony: One of your great Stone Pony performances was recorded as “King Biscuit Flower Hour Presents Gary U.S. Bonds at The Stone Pony, Asbury Park, NJ, November 25th 2000.” Since the Pony reopened a couple of years ago, your shows have drawn very enthusiastic crowds. You always seem to be having a ball when you’re performing on the Pony’s stage. Is it more rewarding to play a packed club after all of these years, and do you still get nervous and excited about stepping under the bright lights and seeing a crowd push forward in anticipation of the show?

Gary U.S. Bonds: It doesn’t really matter whether it’s two or 20,000 people, I’m always excited about playing, especially the Pony. I really don’t get nervous, just excited and, of course, it’s great when the crowd pushes forward as I come on stage.  But, again, it doesn’t really matter whether it’s two or 20,000 pushing forward. Of course I have a ball at the Pony because of the special feeling there, seeing so many people I know, because of my blessed connection with the club and so many of its “graduates".

The Stone Pony: Some fans might not realize Little Steven Van Zandt and Bruce Springsteen have not only stated their long-time love of your music, and used “Quarter to Three” as an encore, but also produced two of your albums, “Dedication” and “On the Line”. During your King Biscuit set, six of the songs you performed were penned by those great artists. Can you briefly tell the story of how you first met those two men and express to fans what it is like to create and produce music with them?

GB: Sometime in the late 70’s or early 80’s I was playing a local club on the Jersey Shore. Someone came to the band and said that Bruce Springsteen was there and was wondering if he could sit in. My band seemed thrilled but I wasn’t sure who he was. When Bruce came on stage the place went nuts, so you can imagine it was great fun. With regard to Steve Van Zandt, I had met him in the early 70’s when he was working with the Dovells and reconnected with him when I was recording with Bruce. (I love the songs that Steve wrote for me.) The recording with Bruce began with the song “Dedication”, which Bruce had written and thought it was better suited for me since it sounded a bit like my earlier recordings. So we recorded the single “Dedication”. Seems that inspired Bruce, who then said maybe we should do some more and so we did (thankfully). Steve and the other E Streeters eventually became involved (through the Boss) and I am so, so glad. As far as creating and producing with Bruce and Steve, it is always a pleasure to work with professionals. I can learn more about my own craft, from them and through their eyes. I can employ that knowledge when I’m working on my own.

The Stone Pony: You made an early mark in the music industry as a songwriter, authoring such hits as "School is Out," "School is In," "Dear Lady Twist," "Twist, Twist Senora," "Not Me" and "Friend Don't Take Her She's All I've Got.” In addition to your touring schedule, you’ve continued to write new music. How has your approach to songwriting changed over the past forty years? Critics often refer to the timelessness of your music, how even the earliest work of your career still seems current. Can you explain what it is about your style that gives your music that special quality?

GB: My songwriting approach hasn’t changed. I get an idea and it develops on its own. I always try to write music that’s fun to sing and fun to listen to. If it’s fun, honest, maybe has a little story sometimes, I think that’s what makes a song timeless. What changes is the technology in the recording and the sound of the recordings. The feelings don’t change.

The Stone Pony: Your bio talks about a 1962 show where you headlined above a new group called The Beatles. Can you provide a little information about that show? Did you get to meet or hear them play and did you have any impressions about the future of the Fab Four at that time?

GB: The Beatles weren’t “THE BEATLES” yet when I first worked with them.  I was touring in the early sixties in London, with Roy Orbison, Gene (100 Pounds of Clay) McDaniels and someone else and the soon-to-be BEATLES were the back-up musicians who were hired (Ringo wasn't with them yet).  Roy, me and the other performers got together after the first week and agreed that the musicians just weren’t cutting it (frankly, they weren’t good at all) so we had them fired and hired another band.  The new band was worse, so when we returned to London we rehired the Beatles. So I was part of hiring and firing and rehiring the Beatles.  I certainly didn’t think about them having a future, not at all.

The Stone Pony: You’ve covered Otis Redding’s “Dreams to Remember”, and paid a touching tribute to Redding from the stage during your King Biscuit show at the club. What are your recollections of seeing him perform and why did you choose this song of his to add to your own set?

GB: I was always a fan of Otis Redding, he was an idol of mine.  I had met him in the late fifties / early sixties when he was playing in Macon, GA.  We hung out.  He was a great performer with feeling.  When he traveled to Norfolk, where I was living, he called and we got together a few times.  I ran into Otis occasionally through the sixties.  I always wanted to sing one of his songs and this was a chance to do that.  I didn’t want to do an obvious song but one that had the feeling.

The Stone Pony: The CD booklet for the King Biscuit album talks about your home basement studio, and new songs you are recording there. Are there plans to release an album of new material and what can you share with fans about those plans?

GB: I have been working on a bunch of Roadhouse blues, classic rockin’ blues and some new blues songs for about a year or two.  A few samples are on the King Biscuit recording.  I’m gonna work on this until it’s successful.  After that, maybe I’ll do an album full of ballads.

The Stone Pony: Your backing singers, “Pink Champagne”, include your wife Laurie, and your daughter, Laurie, Jr. Your daughter has not only been a collaborator for your music, but has worked with you on Global Village Market, a charity devoted to the fight against world hunger. Can you talk about your family a little bit, share your feelings about performing and songwriting with them, and how you became involved with the Global Village Market effort?

GB: Certainly a pleasure performing with the family.  My wife, Laurie Sr., was a lead singer with a group from Philadelphia, called the Lovenotes (which we are thinking about changing the name Pink Champagne to) and my daughter, Laurie Jr., has always been a good singer and songwriter.  What could be better than to have the family along?  As far as Global Village, this is an organization I participate in because of the good it brings to the needy of the world and having the association with Mohammed Ali is very special.  I have traveled to several continents, including Africa, where Global Village has delivered medical and food supplies to people who may never know the privilege of the life we all have in America.

The Stone Pony: Pony crowds have gotten pretty good at singing along to many of your songs, even taking over once in a while on some of the choruses. You could probably sit back and let the crowd handle “This Little Girl Is Mine” on their own. Do you enjoy having that sort of interaction with the crowd during a show? As a performer, what do you feel is your responsibility to the audience during a show, and how you do know afterwards if you’ve met that responsibility?

GB: Love the interaction during the show.  I like to rock when the crowd rolls and vice versa and they can sing as much as they like.  The Pony crowds are unique since they know all the words to all the songs (which I just don’t get everywhere).  If they’re lying on the floor at the end of the show, I know I’ve done my job.

The Stone Pony: Little Steven says you suck on the golf course. Care to respond?

GB: I will say nothing about Sylvio after seeing what happened to Big Pussy.  I love Steve and gladly give him pointers whenever he asks.

The Stone Pony: So, what exactly is in New Jersey’s water that makes the club feel like you’re hanging out with a bunch of your “rowdy friends?” Think you’re going to be able to top yourself at your February 16th show at the club? Anything you’d like to say to your fans at the Pony who are going to be coming by for the evening?

GB: Whatever it is in the water, I don’t want to know. I just want to move to New Jersey so I can bathe in that water. As far as the show on the 16^th ... Let’s rock and roll!