Very long int. w/ Jeremy Spencer-part two

[vivfox]

A Blues Chat With Slide Guitar Virtuoso - Jeremy Spencer (Part Two)

Interview by Lisa Zimmer

LZ: In 1971, you left Fleetwood Mac, having spent only a few short years with the band- but a very much-acclaimed few years. What are some of your best memories of that time in Fleetwood Mac, performing live, in the studio, or otherwise?

JS: I would say the Chicago session was a highlight for me. I enjoyed recording for the radio shows, too. I don’t know why, I suppose because it was an ‘anything goes’ sort of thing, with an element of the old style vibe of recording onto full track mono tape, with the option of ‘bouncing’ one overdub!

Performing live soon lost its magic for me, though. Thank God, it’s come back to me in my latter years!

LZ: A reunion of sorts, by happenstance, took place in Japan in 1995 when by coincidence, you were in Tokyo at the same time as when [the ‘pop’ incarnation of] Fleetwood Mac was doing a concert date there, and were invited by Fleetwood and McVie to join the band onstage. What was the musical chemistry like performing live with Mick and John after such a long time; and what was the chemistry with the rest of the band’s lineup at that time: Bekka Bramlett, Dave Mason and Billy Burnette? Did you perform the band’s hard core blues of yore, if so, what was the audience’s reaction to the stark contrast of that style which you imparted, to the ‘pop-rock’ that the band had rendered, that night, up until you took the stage.

JS: That incarnation of FM with Bekka, Billy and Dave had a little wider spectrum of material due to the chemistry. Even though they did their pop hits, Dave Mason had his unique contribution and Billy Burnette would sometimes do rockabilly in the style of his Father Dorsey and Uncle Johnny who formed the 50’s band, The Rock and Roll Trio. So they called me up at the end of the show to play on one of Johnny’s songs, Tear it Up. It was something, I must say. Having John and Mick on bass and drums backing you on something like that is like stepping into a souped-up Mercedes!

LZ: In 1995, 1998, and 2000, you did several concerts, more specifically for charity benefits in India. American blues fans might be surprised and intrigued that India has a large blues fan base. What is it about this genre of music that has enthralled Indian music consumers?

JS: I have only heard of blues music being popular there in Hyderabad and apparently in Shillong, which I believe is in Northern India. The interest in the blues in places like Mumbai and Bangalore exists mainly among the rich and educated youth. However, after one concert there, an older Indian woman approached me saying that being a staunch listener of only Hindi music, she was unfamiliar with Western music, but that she loved the bending and sliding of my guitar. There must be some yet undiscovered musical mystery in that observation! Overall, from my experience, I have been happy that the audiences there have appreciated my presentation of the blues.

LZ: Are there many native blues bands in that country; and have you had the opportunity to take in some of those bands’ shows?

JS: I have not had the opportunity to hear any of those bands there, but I think many Indian musicians have it in them to feel and play the blues very well. In Mumbai, I heard some good Indian jazz musicians playing with the feel of the American blacks. Also, the ability to extemporize as in raga music could be a ‘plus’ in capturing that essential spontaneity required to play blues. What I call ‘breathing’ together as you play.

LZ: Over the years, you have lived in various countries, such as Greece, Italy, Sri Lanka, the Philippines, and Brazil. Which of the countries that you have resided in, is your favorite regarding the people, the culture, the overall environment?

JS: Okay, here goes! As far as the people, I would say Ireland, Mexico and Brazil. The culture: Ireland and Mexico, and the overall environment (which I assume you mean the weather) would be Mexico and Italy. That’s putting it pretty basically, because there is at least something I’ve liked about all the places I’ve lived. Even England!

LZ: And of all the countries that you have lived in or visited, which would you say has the most appreciation for the blues?

JS: Norway.

LZ: That’s interesting, in 2005, at the persuading of the its organizer, you played at the Notodden Festival in Norway performing with a stellar group of that Scandinavian country’s musicians; and, shortly after, recorded, with those musicians, your first album in almost 30 years, Precious Little [Bluestown/Blind Pig Records].

A very captivating track on the CD, is ‘’Many Sparrows’’, an instrumental, however, containing intermittent moaning, whining type vocal sounds which accompany and accentuate the sweet yet tangy guitar riffs. The tune’s instrumentation has a simplistic ‘’strolling down by river on a summer day’’ air to it, yet its vocal properties exude intensity. Though absent of words, what is this composition about?

JS: It’s drawn from the words of Jesus, ‘are you not worth more than many sparrows?’ when He was telling us not to worry about tomorrow and trust it to the care of a loving, heavenly Father. I don’t want to read into the song too much, but the moans, in retrospect, could be reflective of the burden of worry, which we all carry sometimes (and the carefree music maybe reflective of the hope, do you think?)

LZ: Another track, ‘’It Hurts Me Too’’, is a tune that was delivered by its predecessors, Elmore James and Tampa Red, in quite a slow tempo in its earlier forms; however, on your rendition you conveyed this song of empathy in an ultra-slow pace. What prompted you to record that song in such an extremely leisurely mode?

JS: Empathy is the word, Liza! I always thought that the song had that poignancy in the lyrics (although I did cut out the harshness in some), and the hook line says it all. I just felt like ‘saying’ it differently, that’s all. Slowing it down helped.

LZ: ‘’Bitter Lemon’’, one of eight self-penned songs on the CD, is a ‘looking at the glass half-full instead of half-empty’ perspective song. Is this type of attitude reflective of your own life?

JS: ‘Bitter Lemon’ came about through hearing a number of people bemoaning their lot in life, blaming everybody but themselves and wearing out their welcome in the process.

LZ: Is there any one major element that sparks your songwriting creativity, or is it a number of various factors?

JS: Songwriting is a talent I should hone more, I think. I get tons of ideas for melodies and riffs and they usually come with a title, a phrase or a theme, but I need prodding to get to work and finish them! As for an element that sparks creativity, it can be various things: a person, a thought or an experience. (A few years ago, for example, I got upset about the media and drug company hype of a bogus flu pandemic and I wrote a song called ‘WHO’s Behind the News Blues’. I don’t think I have the confidence to record that for the general public, though!)

LZ: One of the musical artists who you have great regard for is Mark Knopfler. Have you ever considered, or personally talked with Knopfler about, collaborating on an album with him?

JS: If he would agree to that, I would love to. I don’t know him personally; and although he is about my age, he came on the scene about ten years after Fleetwood Mac.

LZ: A general consensus is that ‘the blues is a feeling‘, however, on a personal level, the blues means a lot of different things, to a lot of different people. What does the blues personally mean to you?

JS: It means more to me these days than it ever did, as it can be a very rewarding and fulfilling way to express emotion, and I have discovered that those emotions can be good, sweet and uplifting -- not always negative. There’s a famous quote, right, ‘The sweetest songs can tell of the saddest thoughts’?

It comes to me more naturally, too, because when I listen back to some of my old stuff, it seems immature and ‘forced’. Of course, I was just learning, and I still am!

LZ: On your website, www.jeremyspencer.com , there is a short story you wrote entitled, Tom Dear Tom, a very inspirational and compelling piece.

JS: I am so glad you liked it, Liza! Music to my ears!

LZ: There are also several other stories that you have authored which appear on the website. Do you plan to publish all of the stories in book form?

JS: I don’t know; I haven’t had any offers yet! I am happy if they at least get to be read and enjoyed. Did you read ‘I Thought of Emily’? That’s a personal favourite (notice the British spelling!)

LZ: Well thank you very much, Jeremy, for the interesting blues chat; and for sharing with the world, your awe-inspiring slide guitar talent -a precious gift that G-D has given to you.

JS: You’re welcome, Liza and thank you, too. Good, thought provoking questions.

Interviewer Lisa Zimmer is a music journalist based in the San Francisco Bay area. Over the years, she has conducted interviews for print publication, with recording acts such as Bob Weir; Eric Burdon; and Francis Clay (Muddy Waters' band). She has also co-conducted numerous interviews for radio broadcast, with musicians including Tommy Shannon; Chris Layton; Robert Cray; Johnny Winter; and Buddy Guy.
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