Mike Vernon
Con motivo de la publicación del próximo CD de Mingo & The Blues Intruders, que esta vez ha tenido una producción de lujo a cargo de una de las personas más relevantes dentro del panorama del blues británico, el productor Mike Vernon, que desde hace algún tiempo reside en Andalucía; nos concedió una entrevista, realizada por quique Bonal en los estudios de Cambayá (Antequera), dónde nos deleita contestando una serie de preguntas que nos muestran su implicación e influencias en el mundo del blues.
Una versión reducida de esta entrevista, fué publicada en el número 11 de la revista Arterial, en español.
Aquí podeis disfrutar de la versión íntegra de la entrevista, en inglés.
1) You have been a pivotal figure of the British blues scene since the 60's. You have produced the best albums of John Mayall, Fleetwood Mac, Chicken Shack, Ten Years After, Focus and many others. Tell us about that time, some anecdotes, what feelings you have about that period.
So much has been written about my involvement in nurturing the so-called British Blues Boom that it’s difficult to know what to say that has not been said already. I guess one would have to state the obvious and say that I was the “right person in the right place at the right time”. In a nutshell though, that is what happened. I went from Grammar School to Art College and then in to full-time employment with The Decca Record Company on 12th November 1962 – eight days before my eighteenth birthday. In the space of four years I had amassed a substantial collection of Blues, Rhythm & Blues, Jazz and Rock’n’Roll records and also had a fairly broad knowledge of most other important and current musical genres. Armed with all that information I was determined to make a career in the music business and the people at Decca gave me that opportunity. I made it a priority to get to know all the most important names and faces in the ever growing British Blues scene. I became friends with The Yardbirds and John Mayall. I spent many hours meeting with the likes of Paul Oliver and Max Jones and, of course, spent most of evenings in and around the London area blues venues. By the time 1964 was upon us I knew pretty much everyone that was anyone within the UK blues circle. Once I was given the opportunity to actually produce product without supervision I made the most of it! Sessions with Otis Spann and Muddy Waters; Larry Williams and Johnny “Guitar” Watson; Mae Mercer; Champion Jack Dupree and Eddie Boyd were coupled with demo sessions featuring The Spencer Davies Rhythm & Blues Quartet; The Yardbirds and The Graham Bond Organisation. I then created the opportunity to resign John Mayall’s Bluesbreakers – at that time featuring Eric Clapton. At that moment, the doors opened wide and there was no stopping me. Ten Years After, Savoy Brown Blues Band, Peter Green’s Fleetwood Mac, Chicken Shack, Duster Bennett….the list if almost unending! I was totally committed to the music and also utterly dedicated to the business of making records with these acts. I spent most of my waking life in one studio or another. There can be no denying that I was a workaholic. Hard work, rewards and disappointments were all part of the game but I would not change anything in hindsight. I do not regret anything – it was a great period in my life. I think I made some great and seemingly, important records in the ‘60s and ‘70s – and not all of them blues records either! Perhaps the two most successful acts that I ever worked with, in addition to Fleetwood Mac, were Focus and Bloodstone. I believe that I am still, to this day, the only British white Record Producer to have had a #1 Soul Hit in the US with an all black act – Bloodstone – with the huge hit “Natural High”. A very proud moment for me I have to say.
I was to continue as a workaholic for the next 36 years until I made the decision in 2000 that enough was enough….and so, I went into self-imposed retirement. But, recently I seem to have found myself drifting back into old habits. Like riding a bicycle, one does not forget how to make records, but I’m not sure this will be a full-time operation for me. I intend to take my time and pick acts to work with taking everything else into consideration. None of us ever get any younger….I am enjoying retirement here in Andalucia….but am gratified that I may well have found a new ‘musical home’ where I might be able to indulge my love for the BLUES.
2) Could you name a favourite amongst all the records you have produced?
Really a difficult question to answer....I have a number of favourites....OTIS SPANN "The Blues Of Otis Spann" on Decca (backed by Muddy Waters, Ransom Knowling and Little Willie Smith); FREDDIE KING "Burglar" on RSO; both of the LEVEL 42 albums and LAZY LESTER "Rides Again" on Blue Horizon (soon to be released on CD via Ace UK with extra material). I am very proud of the "Beano" album MAYALL/CLAPTON but it's not one of my favourites as I have never really been happy with the 'sound' of the recordings and as no multitracks now exist it would be impossible to remix and improve the sonic results. I have produced so many albums in my career that it is almost impossible to pick just one as my personal favourite. Apart from anything else, by doing so, I might offend someone! But...if you push me...I would probably choose JAY OWENS "Movin' On" (Code Blue/Atlantic) recorded in 1995. This outstanding blind singer/guitarist/writer - now sadly deceased - was very largely ignored during the early '90s when he was signed to Indigo (later to become Code Blue). I cut two albums with him but the second, "Movin' On", just makes it for me as the better of the two. Some truly soulful vocals in the mould of Bobby Bland with some tremendous guitar work in a blues/jazz format. Neither of these two releases are now available, but, I am working toward getting them re-released next year.
3)What is your favourite live band from the 60's and 70's?
Fleetwood Mac and Focus
4) Any current bands that you like?
No real favourites to be honest.... The only reason I will not be drawn on picking new bands that I like is that I am not fully up to date with what's happening on the worldwide blues scene. I am always hearing good things about this band and that band - I would prefer to stay silent on this one - once again, so as not to insult anyone!
5) You are currently working with the Spanish bands Mingo & The Blues Intruders for Cambayá records. How did this happen?
As a regular attendee to the Antequera Blues Festival for some five years now I first became aware of Mingo Balaguer & The Blues Intruders having seen them perform at the Plaza de Santa Maria three years ago. (Quique - not sure about the year - maybe you can correct this if I have it wrong?). I met Antonio Blanco of Cambaya at that same time and so was introduced to Mingo and the other members of the band. Since then we have all become firm friends. Indeed, my wife Natalie and I have visited Mingo and Suzie in Sevilla and also, more recently, Quique and Mabele in Aracena. Meeting such informed and talented musicians in Andalucia - and therefore, on our own doorstep - has been a really pleasant surprise and has opened up the doors for a working relationship. Antonio Blanco has taken the step to re-launch the Cambaya label by instigating a new series of releases under the general headline of CAMBAYA SESSIONS. The flagship release is to feature a 'live' recording of The Blues Intuders - due for release in September. Natalie and I were amongst the audience and, following the actual recording date, I was asked if I would like to take on the mixing chores. I happily agreed to do so. I think the results are really very good and I'm sure that this release will be well received. Another release in this series is also scheduled for September release, featuring the legendary Louisiana bluesman Lazy Lester. I set up this recording following on from Lester's appearance at the Mijas Blues Festival. Lester is backed up by British blues combo West Weston's Bluesonics. For me this new relatonship with Cambaya is an exciting opportunity for me to be once again involved in Blues Production. I am supposed to be fully retired, but maybe there is still life left in the old dog yet?
6) Any other current projects?
A 'live' recording for Cambaya Sessions series with LAZY LESTER back by WEST WESTON's BLUESONICS.....I also have a new production with DANI WILDE (24 year old female singer/guitarist from Brighton in England due out on Ruf in late August....she's a great songwriter, great singer and also a fine blues guitarist....watch out for that one! Otherwise, nothing else in the pipeline.....
7) What does the BLUES as a concept mean for you and how has it influenced you personally?
The BLUES as a concept would have been something I would have given little thought to in the days when I was a young teenager and eagerly soaking up the sounds of Muddy Waters, Howlin’ Wolf, Bo Diddley, John Lee Hooker and Chuck Berry. This was simply an exciting and new sound to my ears and something that dug deeply into my soul. I felt the need to part of it – in some way or another. I tried learning to play guitar and harmonica but little result. I did have vocal abilities and practised on a regular basis to improve my breathing and delivery as well as working on my sight-reading. I was helped in no small measure during those early years by the organ master as St. James’ Church, Riddlesdown, Surrey. I was part of the Church Choir, eventually moving from the chorister section into the male section handling alto, second tenor and even the bass/baritone parts when required. I retained a strong falsetto voice for many years – and indeed, used that range on many recordings during the latter stages of my career in the music business. But, my all encompassing love for the BLUES – in all its many variations and styles – stuck with me through thick and thin and is still, to this very day, my first port of call when I feel the need for resuscitation or revitalisation. Without that ‘security blanket’ I would not be the person I am, nor be where I am, today.
By Quique Bonal 2010
