Jason Charles

Jason Charles

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Deep talk, deep sounds,

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This is Inside barry Reynolds featuring legendary songwriter and guitar player Barry Reynolds, known for his iconic work with Marianne faithfull and Grace jones. Barry is also one of the original compass point all stars. The group of international musicians that created some of rock and roll in reggae's most groundbreaking albums and sessions

This is Inside barry Reynolds featuring legendary songwriter and guitar player Barry Reynolds, known for his iconic work with Marianne faithfull and Grace jones. Barry is also one of the original compass point all stars. The group of international musicians that created some of rock and roll in reggae's most groundbreaking albums and sessions

at Chris Blackwell studio in the Bahamas in the seventies and eighties. Throughout this series of in depth interviews with new york based DJ musicologist and journalist, Greg caz Barry reveals his fascinating story from Lancashire to London and Nassau to new york city,

at Chris Blackwell studio in the Bahamas in the seventies and eighties. Throughout this series of in depth interviews with new york based DJ musicologist and journalist, Greg caz Barry reveals his fascinating story from Lancashire to London and Nassau to new york city,

a great rock on tour. And Gentlemen, Barry tells inside stories

a great rock on tour. And Gentlemen, Barry tells inside stories

of his early years as a teenage guitar prodigy around the early Beatles scene in Hamburg, becoming a top recording and touring musician for everyone from Clapton to black uhuru and joe cocker and his most recent collaborations with baba mall

of his early years as a teenage guitar prodigy around the early Beatles scene in Hamburg, becoming a top recording and touring musician for everyone from Clapton to black uhuru and joe cocker and his most recent collaborations with baba mall

and new york performance artist and musician tammy faye Starlite.

and new york performance artist and musician tammy faye Starlite.

And Now Part one of Inside Barry Reynolds.

And Now Part one of Inside Barry Reynolds.

But

But

let's kind of start from the beginning, so bolton lancashire.

let's kind of start from the beginning, so bolton lancashire.

Yeah,

Yeah,

it's kind of in between, it's on what they call the Apennines

it's kind of in between, it's on what they call the Apennines

closer to Manchester, but like in between Manchester and Liverpool

closer to Manchester, but like in between Manchester and Liverpool

and it's on on the Yorkshire border. And so the accent is and it's not like a liverpudlian accent, you know, or a Mank union accent. It's more of a Yorkshire accent. It's all like that

and it's on on the Yorkshire border. And so the accent is and it's not like a liverpudlian accent, you know, or a Mank union accent. It's more of a Yorkshire accent. It's all like that

and find my father

and find my father

the way that he talked, he was almost biblical

the way that he talked, he was almost biblical

because he would talk, he would say things like

because he would talk, he would say things like

um just fancy Hunan pub. the

um just fancy Hunan pub. the

you know what that means?

you know what that means?

Just fancy coming down, Probably

Just fancy coming down, Probably

fancy going to the pub. That's right, yeah, but do you know what I mean? When I said biblical, you know dust.

fancy going to the pub. That's right, yeah, but do you know what I mean? When I said biblical, you know dust.

It's almost like just now fancy coming dan pub the,

It's almost like just now fancy coming dan pub the,

you know. And so it was like, wow, this is, you know, almost

you know. And so it was like, wow, this is, you know, almost

olden times. Yeah. And also unfortunately I think through,

olden times. Yeah. And also unfortunately I think through,

through, through the media, I think we've, we've lost

through, through the media, I think we've, we've lost

a lot of those, those accents because of television and so accents have kind of bled into other accents. And so

a lot of those, those accents because of television and so accents have kind of bled into other accents. And so

Where I was born like four miles up the road, it was a different accent,

Where I was born like four miles up the road, it was a different accent,

you know? But you know, it always struck me, especially in England how people can tell an accent from just like

you know? But you know, it always struck me, especially in England how people can tell an accent from just like

somebody a mile away. And it's interesting what you say about how the media over the years, it's kind of like flatten that out a bit and have people talking sort of like more like one another. Well, I think, you know, I mean when I, when I speak to my brother, you know, I I've lived in new york for like 30 years or whatever now

somebody a mile away. And it's interesting what you say about how the media over the years, it's kind of like flatten that out a bit and have people talking sort of like more like one another. Well, I think, you know, I mean when I, when I speak to my brother, you know, I I've lived in new york for like 30 years or whatever now

and

and

I don't, to me I obviously I, I don't know where my accent is, but

I don't, to me I obviously I, I don't know where my accent is, but

I remember at one point he was like you said, you sound like kojak

I remember at one point he was like you said, you sound like kojak

like what you said, Yeah, you're losing, you're really losing your accent, you're sounding America and you know I mean, I I I love new york, you know, I mean, I've always loved new york now I'm

like what you said, Yeah, you're losing, you're really losing your accent, you're sounding America and you know I mean, I I I love new york, you know, I mean, I've always loved new york now I'm

having a few dowels, but you know, I love, I love the accents in new york, the Brooklyn accent, you know, the queens accent, Queens, queens, I'm from queens, you know, I lived in queens for a long time. Yeah, I grew up in the briar wood, Jamaica area, sort of. Oh yeah, I know, I know Jamaica,

having a few dowels, but you know, I love, I love the accents in new york, the Brooklyn accent, you know, the queens accent, Queens, queens, I'm from queens, you know, I lived in queens for a long time. Yeah, I grew up in the briar wood, Jamaica area, sort of. Oh yeah, I know, I know Jamaica,

yeah, no, no, no, we're such, most uh

yeah, no, no, no, we're such, most uh

museum,

museum,

it's in corona, Corona, That's right, yeah, he was and still is one of my, one of my heroes, you know, even

it's in corona, Corona, That's right, yeah, he was and still is one of my, one of my heroes, you know, even

Miles Davis who was, was very, he never gave out many compliments, let's put it that way. But he knew what satchmo brought to him a job, basically. Yeah, absolutely. Yeah. So while we're talking about formative influences,

Miles Davis who was, was very, he never gave out many compliments, let's put it that way. But he knew what satchmo brought to him a job, basically. Yeah, absolutely. Yeah. So while we're talking about formative influences,

you know, I know like my whole sort of music history and I'm very up to date with, in terms of like how the average

you know, I know like my whole sort of music history and I'm very up to date with, in terms of like how the average

english musician of a certain generation, you know, you grew up in this region, this area, you heard that buddy, holly record or you heard that

english musician of a certain generation, you know, you grew up in this region, this area, you heard that buddy, holly record or you heard that

jazz record or whatever it was, that sort of sets you on your path and you, you know, you've got your hands on the 45 or whatever it was and then you just sort of like,

jazz record or whatever it was, that sort of sets you on your path and you, you know, you've got your hands on the 45 or whatever it was and then you just sort of like,

you know, you got your first instrument on hire purchase, they call it, you know, so how, so how does that play out in barry Reynolds case? Well, with being born in um in Manchester and you know, Manchester being report along with Liverpool, right?

you know, you got your first instrument on hire purchase, they call it, you know, so how, so how does that play out in barry Reynolds case? Well, with being born in um in Manchester and you know, Manchester being report along with Liverpool, right?

You were very much influenced, We were different from the south

You were very much influenced, We were different from the south

from London.

from London.

Our influence was mainly,

Our influence was mainly,

certainly when I moved to Hamburg, but it was, it was soldiers coming from America

certainly when I moved to Hamburg, but it was, it was soldiers coming from America

and usually it was black soldiers coming from America

and usually it was black soldiers coming from America

bringing R and B

bringing R and B

and and so my guitar playing wasn't like in the south,

and and so my guitar playing wasn't like in the south,

you know, they were very much influenced by, by the blues like the stones, you know, and chuck berry and all that. We were more into rhythm and blues like Salmon Dave and that's where you got the northern soul from. So my, my particular style of guitar playing, I wasn't, I wasn't trying to copy BB king or, or Freddie king or anything. I was, I was more into the like stacks players and the rhythm

you know, they were very much influenced by, by the blues like the stones, you know, and chuck berry and all that. We were more into rhythm and blues like Salmon Dave and that's where you got the northern soul from. So my, my particular style of guitar playing, I wasn't, I wasn't trying to copy BB king or, or Freddie king or anything. I was, I was more into the like stacks players and the rhythm

steve cropper.

steve cropper.

Yeah, steve cropper, you know, steve cropper was a big influence actually.

Yeah, steve cropper, you know, steve cropper was a big influence actually.

Actually, I I finished up, I mean, I may be straying a little here, but I finished up doing an album at muscle shoals with, with a friend of mine and what really

Actually, I I finished up, I mean, I may be straying a little here, but I finished up doing an album at muscle shoals with, with a friend of mine and what really

what really surprised me when I was speaking to this guy, Barry Becky. Who was a keyboard player and also the records. Yeah. And barry Becky was saying, he said yes and you know, we muscle shoals were rat in the Sandra of Alabama here, he said and uh

what really surprised me when I was speaking to this guy, Barry Becky. Who was a keyboard player and also the records. Yeah. And barry Becky was saying, he said yes and you know, we muscle shoals were rat in the Sandra of Alabama here, he said and uh

you know, and all the artists that we were interested in like, you know, Aretha and people like that. And a lot of people thought, you know, the early

you know, and all the artists that we were interested in like, you know, Aretha and people like that. And a lot of people thought, you know, the early

Aretha albums, you know, like, you know, black session guys, you know, and stuff like that. And there were these White Southern

Aretha albums, you know, like, you know, black session guys, you know, and stuff like that. And there were these White Southern

No, that's a very interesting point you bring up because

No, that's a very interesting point you bring up because

the whole romantic notion of Aretha going down south to record with these rednecks who were funky.

the whole romantic notion of Aretha going down south to record with these rednecks who were funky.

Yes, so great. And there was a period when like all these people like Clapton and joe cocker and whoever else, we're all everyone when we'll need the Stones finished up down going down there and everything. But I remember Barry Beckett saying that when uh

Yes, so great. And there was a period when like all these people like Clapton and joe cocker and whoever else, we're all everyone when we'll need the Stones finished up down going down there and everything. But I remember Barry Beckett saying that when uh

Aretha was was was very uncomfortable,

Aretha was was was very uncomfortable,

you know, I know jerry Wexler's son,

you know, I know jerry Wexler's son,

you know, paul Wexler

you know, paul Wexler

and he was saying that when Aretha first hit, you know, when when he was like, who the hell is this?

and he was saying that when Aretha first hit, you know, when when he was like, who the hell is this?

But Aretha was like very nervous, like surrounded by these guys like what,

But Aretha was like very nervous, like surrounded by these guys like what,

what do they know about my music? And it was only at one point where she started

what do they know about my music? And it was only at one point where she started

because she was a wonderful pianist. Yeah. And she started playing some gospel and they joined in

because she was a wonderful pianist. Yeah. And she started playing some gospel and they joined in

and they just, you know, fell into it and started playing along with it. And she thought

and they just, you know, fell into it and started playing along with it. And she thought

these guys can really play and Wexler knew what was going on, he had a good ear and he knew that it was definitely working. But then Aretha did a show at the Apollo

these guys can really play and Wexler knew what was going on, he had a good ear and he knew that it was definitely working. But then Aretha did a show at the Apollo

and she arrives at the Apollo, this is a story that was like, you know, a mile of people waiting to go in and this, this car pulls up all these white rednecks, get out, the car is like, what the hell are they doing here? And then the musicians backing a wreath,

and she arrives at the Apollo, this is a story that was like, you know, a mile of people waiting to go in and this, this car pulls up all these white rednecks, get out, the car is like, what the hell are they doing here? And then the musicians backing a wreath,

imagine the awkwardness of that particular moment. Yeah, I mean, but I I really admire, you know, mussel shells for like,

imagine the awkwardness of that particular moment. Yeah, I mean, but I I really admire, you know, mussel shells for like,

because when I went down there, as soon as I got out of muscle shoals, it was when I was down there, it was a dry state.

because when I went down there, as soon as I got out of muscle shoals, it was when I was down there, it was a dry state.

And as soon as I got out there and started, you know, like finding out

And as soon as I got out there and started, you know, like finding out

where I was and you know, I'm going into cafes for breakfast or whatever.

where I was and you know, I'm going into cafes for breakfast or whatever.

You know, I realized I was in a different

You know, I realized I was in a different

different land because the only, the only place I knew was in new york which was always a melting pot. There was never a cultural uh there was no cultural shock for me to come to new york, you know, But if someone dropped me off in the middle of

different land because the only, the only place I knew was in new york which was always a melting pot. There was never a cultural uh there was no cultural shock for me to come to new york, you know, But if someone dropped me off in the middle of

Alabama, I think what am I doing here? This is weird. That's the case for many of us, I would say, I'm sure.

Alabama, I think what am I doing here? This is weird. That's the case for many of us, I would say, I'm sure.

So what were some of the early specific records that really, you know, that you got your hands on

So what were some of the early specific records that really, you know, that you got your hands on

and said, all right, this is exactly, this is what's lighting my fire here, I think I I think the early one thing that every band

and said, all right, this is exactly, this is what's lighting my fire here, I think I I think the early one thing that every band

in the north

in the north

and as I say, it was called Northern Soul. But 11 thing that we all played was was Green Onions. And the reason being is because one it was simple, but it had this beautiful groove to it, you know, and we could we could play,

and as I say, it was called Northern Soul. But 11 thing that we all played was was Green Onions. And the reason being is because one it was simple, but it had this beautiful groove to it, you know, and we could we could play,

you know, and so green Onions was a big influence and and Ducati and time, you know, time is tight

you know, and so green Onions was a big influence and and Ducati and time, you know, time is tight

and those tracks, you know, just very simple. And it was just like that that that groove and somehow it touched us

and those tracks, you know, just very simple. And it was just like that that that groove and somehow it touched us

because

because

the north was considered in England as like the south was considered in America, you know, we were the poor. Yeah. And and so it it really touched us. And then what happened with me was

the north was considered in England as like the south was considered in America, you know, we were the poor. Yeah. And and so it it really touched us. And then what happened with me was

in England, we used to have these holidays at school and they were like

in England, we used to have these holidays at school and they were like

six Week holidays and one time I was at home and my brother

six Week holidays and one time I was at home and my brother

also played guitar and he was like three years older than me and a much better

also played guitar and he was like three years older than me and a much better

guitarists. And

guitarists. And

someone knocked on the door and just said, listen, we're looking for, we believe there's a guitarist here called Jack Reynolds,

someone knocked on the door and just said, listen, we're looking for, we believe there's a guitarist here called Jack Reynolds,

you know? And I'm going, why, why, why do you want to see him? And they said, well we're going to Hamburg and we need a guitarist.

you know? And I'm going, why, why, why do you want to see him? And they said, well we're going to Hamburg and we need a guitarist.

And so I

And so I

said, well I'm ready.

said, well I'm ready.

I'm pretended I was my brother. And so the day after they said, well, just come down for a jam first, you know?

I'm pretended I was my brother. And so the day after they said, well, just come down for a jam first, you know?

And so I went down and we had a

And so I went down and we had a

we had a jam and the van wasn't very good.

we had a jam and the van wasn't very good.

And uh and so I got the gig, and like, within a week I had left home, I'd run away from home

And uh and so I got the gig, and like, within a week I had left home, I'd run away from home

because I was still at school and I finished up in Hamburg.

because I was still at school and I finished up in Hamburg.

Hamburg was a rite of passage for many, it seems, in the north northern bands. Yeah. Northern bands. Yeah, and it was if you were in a band and you played in Hamburg, like,

Hamburg was a rite of passage for many, it seems, in the north northern bands. Yeah. Northern bands. Yeah, and it was if you were in a band and you played in Hamburg, like,

you know, two months and you came back and the band wasn't good, you were dreadful because we would play six hours a night, you know? And it was just Oh yeah, it was a wild place. I'm actually thinking of writing about,

you know, two months and you came back and the band wasn't good, you were dreadful because we would play six hours a night, you know? And it was just Oh yeah, it was a wild place. I'm actually thinking of writing about,

I've done some research about that time,

I've done some research about that time,

which was like 60 for, you know, it was just after the Beatles, you know, that I was there, but I played the same place as the Star Club and the top 10,

which was like 60 for, you know, it was just after the Beatles, you know, that I was there, but I played the same place as the Star Club and the top 10,

and um and join different bands, and so when you're playing every night, you know, it's like, you're learning your your your trade or, and if you don't get it, you're not a musician, you'll never get it.

and um and join different bands, and so when you're playing every night, you know, it's like, you're learning your your your trade or, and if you don't get it, you're not a musician, you'll never get it.

So at some point, did you move to London after that, or? Well what happened, III decided I didn't want to go home after that because of the freedom and uh that you've that you've experienced. Yeah. And and uh, you know, I mean I was, I was 15, I was naive, I didn't know anything.

So at some point, did you move to London after that, or? Well what happened, III decided I didn't want to go home after that because of the freedom and uh that you've that you've experienced. Yeah. And and uh, you know, I mean I was, I was 15, I was naive, I didn't know anything.

And the next thing I was going out with this lady and I didn't know

And the next thing I was going out with this lady and I didn't know

was

was

that she was a lady of ill repute. So to put in a nice way, but I was in love with her. I was 15, you know, I was kind of besotted by this lady. And I remember this guy who was in blood wimping Jack Lancaster, he was in this band with me and I remember him after about three weeks going barry. Um

that she was a lady of ill repute. So to put in a nice way, but I was in love with her. I was 15, you know, I was kind of besotted by this lady. And I remember this guy who was in blood wimping Jack Lancaster, he was in this band with me and I remember him after about three weeks going barry. Um

I wanna, I wanna have a word with you. He said, do you know what, do you know what her name was? Eras?

I wanna, I wanna have a word with you. He said, do you know what, do you know what her name was? Eras?

I said, you know what areas does? And I said,

I said, you know what areas does? And I said,

I think I came out with something like, yeah, she really loves me or whatever and he said she's a hooker and I was like a hooker.

I think I came out with something like, yeah, she really loves me or whatever and he said she's a hooker and I was like a hooker.

I said, yeah.

I said, yeah.

And I think I attacked him,

And I think I attacked him,

you know, because he was like, I thought it was an insult.

you know, because he was like, I thought it was an insult.

And then, and then he said just think about it, he said, she picks you up every night at four o'clock after the gig,

And then, and then he said just think about it, he said, she picks you up every night at four o'clock after the gig,

You know, do you think she wakes up every night at 4:00 just to pick you up. And I started thinking about it, it started making sense and

You know, do you think she wakes up every night at 4:00 just to pick you up. And I started thinking about it, it started making sense and

but I was still in love with her, you know, it was it didn't, it made no difference to me?

but I was still in love with her, you know, it was it didn't, it made no difference to me?

Well, it did at first, you know, but I it was like, as I said, I was incredibly naive, so I went from 15 to like

Well, it did at first, you know, but I it was like, as I said, I was incredibly naive, so I went from 15 to like

25 in about a month to month. Yeah, I grew up like that,

25 in about a month to month. Yeah, I grew up like that,

wow

wow

after Hamburg and I spent quite a bit of time in Hamburg,

after Hamburg and I spent quite a bit of time in Hamburg,

I went back to Manchester with my lady of ill repute and we got a little apartment there and then

I went back to Manchester with my lady of ill repute and we got a little apartment there and then

I joined this fan, Gladwin Pig. Yeah, yeah,

I joined this fan, Gladwin Pig. Yeah, yeah,

and we moved to London. So how did the speaking of Gladwin Pig, how did that

and we moved to London. So how did the speaking of Gladwin Pig, how did that

connection sort of happened? Well, I'm, you know, I hate to disappoint you. But what, what happened there was, I'm sure it was a very brief passage because Yeah, yeah. And also the fact that I I knew

connection sort of happened? Well, I'm, you know, I hate to disappoint you. But what, what happened there was, I'm sure it was a very brief passage because Yeah, yeah. And also the fact that I I knew

and had worked with Jack Lancaster, they were they were having some problems with Mette and uh,

and had worked with Jack Lancaster, they were they were having some problems with Mette and uh,

Mick was a southerner and he was into, you know, he could have easily joined someone like john mail

Mick was a southerner and he was into, you know, he could have easily joined someone like john mail

or something like that. It was one of those guitarists, you know, doing, you know, copying Freddie King and whoever. And so when, when he left, I got a call from Jack

or something like that. It was one of those guitarists, you know, doing, you know, copying Freddie King and whoever. And so when, when he left, I got a call from Jack

and he said, you want to come down and join the band and I wasn't a blues player and my my thing, I was a rhythm player, you know, I was

and he said, you want to come down and join the band and I wasn't a blues player and my my thing, I was a rhythm player, you know, I was

northern and southern divide that rears its head once again, in the sense that the difference that a lot of people don't think about between say, the Beatles and the Stones, is that again, The Beatles being from the North

northern and southern divide that rears its head once again, in the sense that the difference that a lot of people don't think about between say, the Beatles and the Stones, is that again, The Beatles being from the North

had more of like

had more of like

an early soul, early Motown, Oh yeah, Smokey Robinson and Robinson was there was there guy, you know, and early rock and roll, whereas the guys from the south from London were all about,

an early soul, early Motown, Oh yeah, Smokey Robinson and Robinson was there was there guy, you know, and early rock and roll, whereas the guys from the south from London were all about,

you know, john lee hooker and fred and you know, big bill Broonzy and that whole sort of like, heavy blues scene, so I, so I can see where that might have

you know, john lee hooker and fred and you know, big bill Broonzy and that whole sort of like, heavy blues scene, so I, so I can see where that might have

been an issue with. Yeah. And so, you know, I mean, for me too,

been an issue with. Yeah. And so, you know, I mean, for me too,

say that I replaced Mick, you know, I did, I did some gigs, but I'm sure I disappointed a lot of people because I wasn't into, you know, doing soloing for, for me, and I think for most of northern bands,

say that I replaced Mick, you know, I did, I did some gigs, but I'm sure I disappointed a lot of people because I wasn't into, you know, doing soloing for, for me, and I think for most of northern bands,

the groove was the main thing, you know, and it wasn't soloing and showing what you could do on, on the guitar and, and stolen for me. Like,

the groove was the main thing, you know, and it wasn't soloing and showing what you could do on, on the guitar and, and stolen for me. Like,

I, even at that age, you know, I was thinking how I hear another

I, even at that age, you know, I was thinking how I hear another

guitar solo, you know, I'm going to kill someone, you know, who's just basically copying someone else who's copying someone else and stuff. And so my thing was to work with the base where

guitar solo, you know, I'm going to kill someone, you know, who's just basically copying someone else who's copying someone else and stuff. And so my thing was to work with the base where

and the drama and

and the drama and

to back up singers.

to back up singers.

So I lived in Brixton for

So I lived in Brixton for

for a while and it was just

for a while and it was just

outside of London, which was ideal for a band because it was mainly Jamaicans living in Brixton. So we we got this house for nothing and we could rehearse anytime

outside of London, which was ideal for a band because it was mainly Jamaicans living in Brixton. So we we got this house for nothing and we could rehearse anytime

Because we'd be coming home from gigs at 4:00 AM and there was always music playing and so there were no complaints or anything and you know, it was just gigging around bricks. And then I started doing

Because we'd be coming home from gigs at 4:00 AM and there was always music playing and so there were no complaints or anything and you know, it was just gigging around bricks. And then I started doing

little sessions here and there and

little sessions here and there and

you know, not not much just just trying to make a living

you know, not not much just just trying to make a living

and then I started writing

and then I started writing

I I I think there's like 78 blush lost years kind of thing.

I I I think there's like 78 blush lost years kind of thing.

um in 1970 for

um in 1970 for

you put out a single.

you put out a single.

Um Barack

Um Barack

alright, yeah, is for Vicky Most label which is called Outsider's point of view.

alright, yeah, is for Vicky Most label which is called Outsider's point of view.

Oh God, I haven't heard that since 1974.

Oh God, I haven't heard that since 1974.

Okay.

Okay.

Trying to just keep it together

Trying to just keep it together

along the, trying the best just to keep it above it all

along the, trying the best just to keep it above it all

from w

from w

w

w

from an outsider's point of view. Who knows?

from an outsider's point of view. Who knows?

Okay, it doesn't sound good anyway. Okay. Like that record. Oh good. I like that record. What are you talking about? I think at that point, you know, I was

Okay, it doesn't sound good anyway. Okay. Like that record. Oh good. I like that record. What are you talking about? I think at that point, you know, I was

influence a lot. I I love Curtis Mayfield and so I was I was trying to sing in a false so you know, but I didn't have the depth that that Mayfield had Curtis Mayfield all the town to be quite frank with you, but I believe without record it's it's got a nice atmosphere and a nice feel to it.

influence a lot. I I love Curtis Mayfield and so I was I was trying to sing in a false so you know, but I didn't have the depth that that Mayfield had Curtis Mayfield all the town to be quite frank with you, but I believe without record it's it's got a nice atmosphere and a nice feel to it.

Yeah,

Yeah,

yeah, be Curtis Mayfield, you know, you do have the falsetto voice, but it does have a certain

yeah, be Curtis Mayfield, you know, you do have the falsetto voice, but it does have a certain

vibe for lack of a better word that I do like. So that's what I wanted to make sure to like

vibe for lack of a better word that I do like. So that's what I wanted to make sure to like

mention it and kind of get your recollection of it.

mention it and kind of get your recollection of it.

Yeah, but I mean, I mean Curtis Mayfield was was another incredible

Yeah, but I mean, I mean Curtis Mayfield was was another incredible

influence without Curtis Mayfield, I don't think you would have the same bob Marley.

influence without Curtis Mayfield, I don't think you would have the same bob Marley.

Yeah, I wouldn't have any without they field most of what we now know as reggae and Jamaican music

Yeah, I wouldn't have any without they field most of what we now know as reggae and Jamaican music

would have taken a completely different shape

would have taken a completely different shape

Because all of the 60s Jamaican artists were huge impressions, fans and all those rock steady vocal groups all modeled themselves

Because all of the 60s Jamaican artists were huge impressions, fans and all those rock steady vocal groups all modeled themselves

after the impressions. There's hardly an impression song that doesn't have a rock steady or reggae cover of it. Things like people, people get ready and stuff like that, you know, you can hear bob Marley doing that, you know, and just like in a rock steady way and uh

after the impressions. There's hardly an impression song that doesn't have a rock steady or reggae cover of it. Things like people, people get ready and stuff like that, you know, you can hear bob Marley doing that, you know, and just like in a rock steady way and uh

he was a great influence on on molly and I

he was a great influence on on molly and I

I heard that the bob Marley spent, I think it was about a year or so in nowhere Delaware, there you go. And he was he was listening a lot to a black radio, you know, and Curtis Mayfield and people like that and so that was a huge influence on him. Well the story was that it was also that even when he was in Jamaica, you know, cox and Dodd from studio one periodically come to the States and just come back with a huge pile of 45 give Marley the job of sorting through them, listening to them and finding out what's you know good for people to cover or for himself to cover

I heard that the bob Marley spent, I think it was about a year or so in nowhere Delaware, there you go. And he was he was listening a lot to a black radio, you know, and Curtis Mayfield and people like that and so that was a huge influence on him. Well the story was that it was also that even when he was in Jamaica, you know, cox and Dodd from studio one periodically come to the States and just come back with a huge pile of 45 give Marley the job of sorting through them, listening to them and finding out what's you know good for people to cover or for himself to cover

what he can steal from them, which is what we do.

what he can steal from them, which is what we do.

So I see that like

So I see that like

You know that influence obviously spread, there is a definite Curtis mayfield influence in that tune. So um 70 for you did outsider's point of view for rack

You know that influence obviously spread, there is a definite Curtis mayfield influence in that tune. So um 70 for you did outsider's point of view for rack

a year later, there is a single, an epic called the World Wasn't ready.

a year later, there is a single, an epic called the World Wasn't ready.

Oh that that that that was a nightmare, that was,

Oh that that that that was a nightmare, that was,

that was someone's idea that

that was someone's idea that

they, they, they wanted me to do something and I went in and I had no,

they, they, they wanted me to do something and I went in and I had no,

I had no control over it whatsoever and I won't mention the guy's name, but some

I had no control over it whatsoever and I won't mention the guy's name, but some

some guy who was producing it, I remember at one point he came in

some guy who was producing it, I remember at one point he came in

and it certainly didn't help my confidence

and it certainly didn't help my confidence

and I said listen, can you, can you put a little more soul into this because I, I don't consider myself a vocalist and I said, well I said

and I said listen, can you, can you put a little more soul into this because I, I don't consider myself a vocalist and I said, well I said

what do you mean? And? And he did,

what do you mean? And? And he did,

he finished up doing an impression of Ray Charles, believe it or not, and I finished up

he finished up doing an impression of Ray Charles, believe it or not, and I finished up

trying to do an impression of him doing an impression of Greg Charles, and it just it was like, this is this is wrong, and I didn't I didn't want to go in the studio again after that, you know, I really didn't. So, so that comes out and I'm pretty sure that if you could, you would like buy up every copy and burn it.

trying to do an impression of him doing an impression of Greg Charles, and it just it was like, this is this is wrong, and I didn't I didn't want to go in the studio again after that, you know, I really didn't. So, so that comes out and I'm pretty sure that if you could, you would like buy up every copy and burn it.

Absolutely,

Absolutely,

I really would. Not long after that, you meet up with Marianne faithfull?

I really would. Not long after that, you meet up with Marianne faithfull?

Yeah, I got a call from a friend of mine who unfortunately passed away now

Yeah, I got a call from a friend of mine who unfortunately passed away now

and he was working with a band called chicken shack

and he was working with a band called chicken shack

and chicken shack was Christine, perfect band and all that blue thing,

and chicken shack was Christine, perfect band and all that blue thing,

yep. And uh he was he was a pianist, and he called me up, he said, Marianne faithfull is maybe doing a tour, are you interested? And my first reaction was, no,

yep. And uh he was he was a pianist, and he called me up, he said, Marianne faithfull is maybe doing a tour, are you interested? And my first reaction was, no,

not really, you know, unless unless the wedge is good, you know, unless the money is really good, I'll do it.

not really, you know, unless unless the wedge is good, you know, unless the money is really good, I'll do it.

But then I got to meet Marianne and I actually went down

But then I got to meet Marianne and I actually went down

and he said, well just come down and have a play and I got down there and the band was a mess, you know, no arrangements and no one really knew what was going on.

and he said, well just come down and have a play and I got down there and the band was a mess, you know, no arrangements and no one really knew what was going on.

Marianne was going through a hard time

Marianne was going through a hard time

at the time with drugs,

at the time with drugs,

but I we we we clicked in a in a strange way. And when when I got talking to our I realized that

but I we we we clicked in a in a strange way. And when when I got talking to our I realized that

that that she was one, she was incredibly bright,

that that she was one, she was incredibly bright,

incredibly well read.

incredibly well read.

And for me that that that means

And for me that that that means

that means a lot. You know, you usually find out like the writers that you read,

that means a lot. You know, you usually find out like the writers that you read,

you know, a third of their their lives, they they're reading

you know, a third of their their lives, they they're reading

other books, you know, that they they're feeling their feeling that well spring with words and stuff.

other books, you know, that they they're feeling their feeling that well spring with words and stuff.

And with with Marianne just talking to her,

And with with Marianne just talking to her,

it kind of fascinated me. And so

it kind of fascinated me. And so

I said, I remember saying, you know, we should maybe try writing something, you know? And uh Marianne was, yes, let's do it darling. She said, but now now we've got this band, why why don't we why don't we split the royalties up?

I said, I remember saying, you know, we should maybe try writing something, you know? And uh Marianne was, yes, let's do it darling. She said, but now now we've got this band, why why don't we why don't we split the royalties up?

You know, I'm thinking

You know, I'm thinking

well if she's willing to do it, I'll do it. Okay, completely stupid.

well if she's willing to do it, I'll do it. Okay, completely stupid.

And so um

And so um

anyway, we did we wrote Broken English

anyway, we did we wrote Broken English

and and then pick right off the bat.

and and then pick right off the bat.

Yeah, but it was a very simplistic, you know, I and then we got steve Winwood

Yeah, but it was a very simplistic, you know, I and then we got steve Winwood

Five,

Five,

it's not

it's not

mm hmm.

mm hmm.

Security

Security

England.

England.

So, um so so now you're working with Marianne faithfull. She's on Island Records, she's having her issues. But

So, um so so now you're working with Marianne faithfull. She's on Island Records, she's having her issues. But

so I guess that um leading up to this point

so I guess that um leading up to this point

you've been developing your songwriting.

you've been developing your songwriting.

Yeah, I actually kind of started Marianne

Yeah, I actually kind of started Marianne

writing songs. I mean she had written lyrics, she wrote the

writing songs. I mean she had written lyrics, she wrote the

lyrics for a sister morphine

lyrics for a sister morphine

and she didn't get credited for it, you know. But uh

and she didn't get credited for it, you know. But uh

I knew that that that that she was a great lyricist

I knew that that that that she was a great lyricist

and so, you know, we started uh I I just said, let's let's let's right, and we did.

and so, you know, we started uh I I just said, let's let's let's right, and we did.

And so and so that album comes out and is a big classic, really. Got her career back on track and got her a whole

And so and so that album comes out and is a big classic, really. Got her career back on track and got her a whole

new sort of like lease on life in terms of her career as a recording artist.

new sort of like lease on life in terms of her career as a recording artist.

And so there was that followed by dangerous acquaintances.

And so there was that followed by dangerous acquaintances.

So yeah, yeah. Which was,

So yeah, yeah. Which was,

it had that second album kind of yeah, he kind of dropped, you know, it was like

it had that second album kind of yeah, he kind of dropped, you know, it was like

if you come out with something that's so big, it's like you've got to be prepared

if you come out with something that's so big, it's like you've got to be prepared

or you know, with, with

or you know, with, with

with something equally as good or better. And I don't think we were,

with something equally as good or better. And I don't think we were,

this is Delphine Blue for Jason Charles dot net podcast network. You've been listening to part One of Inside Barry Reynolds, a series of in depth interviews with the legendary songwriter, guitar player and DJ, musicologist and journalist, Greg calves for more information about barry Reynolds and this series.

this is Delphine Blue for Jason Charles dot net podcast network. You've been listening to part One of Inside Barry Reynolds, a series of in depth interviews with the legendary songwriter, guitar player and DJ, musicologist and journalist, Greg calves for more information about barry Reynolds and this series.

Check out the audio dramas channel on Jason Charles dot net podcast network

Check out the audio dramas channel on Jason Charles dot net podcast network

and listen and subscribe to the entire series wherever you get your podcasts or live and direct on Jason Charles dot net.

and listen and subscribe to the entire series wherever you get your podcasts or live and direct on Jason Charles dot net.

Jason Charles dot net,

Jason Charles dot net,

deep talk deep sounds.

deep talk deep sounds.

That was so deep

That was so deep