FEATURED IN THIS ISSUE
1. AN EXCLUSIVE Q&A WITH THE BLUESBREAKERS' JOHN MAYALL
2. BOB MOULD'S CARNIVAL OF LIGHT AND SOUND
3. CALENDAR OF EVENTS
Just Added to the Stone Pony Calendar: The Tony Levin Band (April 30th), Leftover Salmon (May 17th), Joan Jett and the Blackhearts (May 25th), Peter Rowan (June 7th).
Every fan of rock and blues music owes a debt to John Mayall. The British keyboardist, singer, composer and harmonica player is perhaps best-known as a fiery blues preacher and bandleader. His group, the Bluesbreakers, evolved in the early 1960s, and helped introduce the world to John McVie (later of Fleetwood Mac), Mick Taylor (later of the Rolling Stones) and Eric Clapton (later God). His association with Clapton produced the album Blues Breakers With Eric Clapton (Decca), which was largely responsible for Clapton's ascension to deity. Mayall's prolific career has continued to produce a string of albums, many with stellar guest appearances, which has culminated in his most recent album, Along For The Ride (Eagle/Red Ink). Mayall's constant touring schedule brings him to a return appearance at The Stone Pony on Wednesday evening, April 10th. The newsletter was fortunate enough to catch Mr. Mayall for some comments about his latest CD, his legendary early days and a few of the moments in between.
The Stone Pony: Much has been written about the influence of American jazz and blues artists in England in the middle part of the century, which culminated in the British Blues Boom, and the British Invasion, in the 1960s. You heard many of these artists, including Leadbelly and Eddie Lang, from your father¹s record collection. Can you give your own assessment about why blues and jazz were so warmly embraced by British musicians, who so easily accepted it as their own art form, and took it to a whole new level?
John Mayall: In general, we as Europeans, who did not have direct access to American jazz and blues musicians, revered their work and it seemed part of our culture to form bands and shape our own styles on their playing.
The Stone Pony: Discuss Leadbelly for a moment. During his lifetime, he was possibly the most famous folk musician and the most famous black man in America. While the general public might not be familiar with his career, countless musicians in all genres of music cite their affection for his songs and his music. How do you rate his influence on your own sound, and the blues in general?
JM: Leadbelly was just one of many major figures in the blues and I can't say he was any more of an influence on my playing than people like Broonzy, Sonny Boy, Josh White, Memphis Slim, etc., etc.
The Stone Pony: Part of your own legacy to the music world has been working with amazing guitarists, notably Peter Green, Mick Taylor and a gentleman named Eric Clapton. Having played with these talented musicians, can you define what similarities they all have which allowed them to have such stellar careers? Do you feel you had a gift for discovering talent and, looking back, do you see your influence on their style evident in their later work?
JM: As a bandleader it has always been a privileged part of the job to be able to select bandmates who turned me on musically and that has always been my criterion. Whether I have influenced them in their own work would be hard for me to evaluate but certainly they learned a great deal from me during their time with the Bluesbreakers.
The Stone Pony: You have released forty-four albums, from your 1965 debut John Mayall Plays John Mayall to your most recent release Along For the Ride. When most fans talk about your most notable recordings, they mention 1966's Blues Breakers with Eric Clapton and, from your later work, 1993's Wake Up Call. Are there any albums in your body of work you feel are underrated and would recommended to fans looking for great examples of your sound?
JM: First of all, we are up to 52 albums and still counting. As for recommended listening, I always say start with the latest release and work your way back from there. Along for the Ride is a particularly fine album and contains performances from a roundup of guests that will never be equaled.
The Stone Pony: Bluesbeakers with Eric Clapton has been called a revolutionary work, both because of Clapton's redefinition of the electric blues guitar sound, and for the overdriven and aggressive style you achieved with the entire album. Describe the vibe during the recording and production of that album. Did you realize early on how influential and successful the album would be? How long did it take to record and were there any technical challenges you had in achieving a sound that was so unique at the time?
JM: The sessions took only a few days as is normal for any one of my many albums and, as usual, the studio environment is no different socially than how we are together in the midst of our regular nightly club dates. However, it is always an exciting feeling to know that what you are creating in the studio will last forever as a record of your music.
The Stone Pony: It has been written that your talent as a musician has been overshadowed by your legendary status as a bandleader. Your latest album, Along for the Ride, seems to acknowledge that legacy, and is filled with performances by a who's who of the talented names you¹ve worked with over the years. Are you comfortable with that characterization of your career, or would you prefer greater recognition for your songwriting and playing?
JM: Naturally I would love to have a larger recognition and following. The expenses involved in performing on the road is forever making it harder for most bands to survive and, so, more success in sales of records would of course help to offset the touring costs. There is nothing like a standing room only crowd to justify our presence at a gig to make things rock.
The Stone Pony: Along for the Ride is comprised of thirteen tracks, each with an array of different musicians. Describe how this project started, how the songs were selected, and who was invited to play on each track? Does having so many friends who you can collaborate with on a project such as this give you a feeling that your career has been truly successful? Is it still fun for you to be able to work on a project such as Along for the Ride after being in the business for so many years?
JM: Obviously it was great fun to have so many reunions on this album. It was Eagle Records who financed the project in the belief that it would be a fitting tribute to my 40-odd years in the business. My music wouldn't exist unless it was fun as well as being an ongoing creative process.
The Stone Pony: The current guitarist for the Bluesbreakers is Texan Buddy Whittington, who grew up listening to your music and was invited to join the band in 1993. At the risk of starting fights with Bluesbreakers fans everywhere, can you describe his style relative to some of the other guitarists you¹ve played with in the past? What unique elements does Buddy bring to the Bluesbreakers and what was it about his style that made you invite him into the band?
JM: The fairly obvious and only answer to this is that Buddy is one of those rare musicians with a style all his own and he's fulfilled every expectation and more during his many years with the Bluesbreakers. He is a supercharged blues player who manages to constantly deliver the goods both to audiences, myself and to Tom, Joe and Hank as we bring our blues message to you all.
The Stone Pony: Your appearance at The Stone Pony on Wednesday evening, April 10th, will be a return for you to Ocean Avenue. The Pony has been known as a haven for r & b since the 1970s, and even helped preserve it with the advent of the Asbury sound in the 1970s. Were you aware of musicians such as Bruce Springsteen and the Asbury scene in the 1970s and 1980s, and do have any thoughts about the frequent comparisons between Asbury and English cities such as Liverpool?
JM: I can't really give you an answer to that one because I wasn't too aware of what was going on in rock music and it's centres. The same apples to Liverpool, but it's true that certain cities of the world have become recognized as the fountainheads of all types of music.
The Stone Pony: The biography on your web site makes a brief references to your artwork, and reveals that you painted the cover art for your 1967 album A Hard Road. Do you still paint and can you talk a little about your artwork? Do you have other creative outlets besides music?
JM: I was trained in art and still do a little here and there when I have the time. My other hobbies are and always have been to do with literature and the movies.
The Stone Pony: How do you plan to follow-up Along for the Ride and your current touring schedule? Are there plans for another collaborative album, or a Bluesbreakers solo effort?
JM: We are currently finishing a new album that is expected to be released in the fall. For news on this and other matters I would refer all you readers to check out our website, johnmayall.com. The new album, tentatively titled 'STORIES', is entirely a Bluesbreakers album with no guest artistes.
John Mayall's official web site, www.johnmayall.com, contains a comprehensive biography and discography, as well as photos, John's personal listening recommendations (be sure to check this out), and information about the other members of the band. Be sure to swing by the club on Wednesday, April 10th and hear how the blues are meant to be done.
Now at asburypark.net: Follow all of the happenings surrounding the proposed redevelopment of Asbury Park, including the upcoming meeting of the city Planning Board to decide on their final recommendations regarding the latest version of the waterfront plan.
Bob Mould has survived it all, from alt-rock, to alternative, to grunge. Thought it all, his work with Hüsker Dü, Sugar and his solo work has managed to be tremendously influential, while staying ahead of those he influenced. Mould began as the front man and lead guitarist of hardcore pioneers Hüsker Dü, the Minneapolis band whose early albums, 1981's Land Speed Record (SST Records) and 1982's Everything Falls Apart were ferocious assaults that defined the wall of guitar sound and earned the group a rabid cult following. After working with seminal punk label SST, and producing several wonderful albums there, Hüsker Dü finally signed to a major label. They created two more albums, including the classic double-CD Warehouse: Songs and Stories (Warners), which proved to be their final work as band tensions, burn-out, management issues, major label pressure and drugs brought the band to an end in 1987. Mould embarked on a solo career, which surprised fans and critics by commencing with the acoustic sounds, rock swagger and melodic melancholy of Workbook, which established Mould as a songwriter and talented performer. Mould soon formed a new band, Sugar, which managed to continue Mould's string of well-received, diverse and sometimes challenging albums, including 1992's Copper Blue (Rykodisc). Sugar reminded Mould what he didn't like about being part of a full-time band, something he resists to this day, and he returned to his solo efforts after just two years. Battling against the death-throes of the mid-1990's alternative rock (and writing a song titled "I Hate Alternative Rock" just to belabor the point on his 1996 self-titled album), Mould spent the next several years re-establishing himself as a performer and lyricist. He has performed extensively with an acoustic-only set (sometimes with a well-timed plugged-in encore), and recently began experimenting with electronic tools and technical magic to enhance his sound. He has toyed with the idea of halting all electronic performances entirely, only to return and try something new (again). His most recent project is to ambitiously release three albums simultaneously, which is he now touring to promote as part of his Carnival of Light and Sound, which comes to The Stone Pony on Friday, April 12th. The main release of this trio is Modulate (Granary Music), which is being promoted and sold everywhere. In addition, Mould has released LoudBomb "Long Playing Grooves" and LiveDog98 (a live recording from London), which are being put out under the radar and are only available on his web site (www.bobmould.com) or by attending his live shows. Mould's fans are eager to hear the latest sounds to come from his new collections of pop noise, and everyone else should make a point to be at the Pony on April 12th to hear and see one of the truly creative, talented and important "alternative" musicians of the past twenty years. Mould's official web site, www.bobmould.com, offers all three albums from sale, as well as many other CDs from his solo work, as well as Husker Du/Sugar, plus album reviews, articles and more.
Have your party at the Pony! -- The Stone Pony is the perfect place for your party. We can accommodate six or 600, or anywhere in between. Of course, we can arrange for entertainment as well. Call 732-502-0600 Ext. 12.
Relay Run starts in Seaside Heights and the Walk starts in Sea Girt. Teams in Corporate, Government, Family, Club, Fire, Police and Open Categories. Presented by Jersey Shore Running Club, Elks Handicapped Children's Committee and Area 6 Special Olympics. Jersey shore bands at transition areas. There will be a giant runner's party with all the bands joining up at the finish at The Stone Pony.
The scenic course hugs the Jersey Shore to include boardwalks and oceanfront runs through: Seaside Hts, Ortley Beach, Lavallette, Mantoloking, Brick Beach, Bay Head, Pt Pleasant Beach, Brielle, Manasquan, Sea Girt, Spring Lake, Belmar, Avon, Bradley Beach, Ocean Grove, Asbury Park.
Information at: http://www.jsrc.org/relay.htm, http://www.jsrc.org/relaywalk.htm, or call: 732-681-9464.
Thursday Nights. Bounce Thursday: The Ultimate Dance Party with DJ Matrix and MC BJ, 20-oz. $1 drafts and $1 tube shots all night long, ladies free until 11, $5 with Monmouth University ID, 18 & up for everyone with two forms of ID, doors at 9:30.
