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Roger Chapman

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Roger Chapman

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Well here we have one of the greatest voices in rock and still roaring after 50 years on the road. 76 this year, Roger still commands a great stage presence and is always supported by a crack band. Any gig attempting to cover 50 years of writing and recording will fall short in some people’s lists but the 2 hours that he and the band barrel through hits like ‘Burlesque’, ‘In my own time’, ‘Run for cover’, Weaver’s Answer’, Habit of a lifetime’ and ‘Shadow on the wall’ will leave you satisfied and with a grin. Top bloke with a fantastic band. Don’t miss them.

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I hadn't seen Roger since the sixties when I used to follow Family. I did have my reservations that time may have had an impact on the music. I needn't have worried Rogers command of the stage and the audience being driven on by the band was dynamic. I had forgotten what a consummate performer Roger is and glad to say the voice was stll hitting the spot.

If you have the opportunity and your a fan go for it you won't be disappointed!!

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"Family definitely ran out of steam". Roger Chapman in The Prog Interview

The Family singer and solo artist in his own right, Roger Chapman reflects on a 50-year career

As a teenager Roger Chapman would take the mic “for a laugh” when the dance band at his local palais ran through some of the rock’n’roll hits of the day. He tried to emulate the likes of Little Richard, Eddie Cochran and Chuck Berry, but he never dreamt that he would become a singer, let alone one of the most original vocalists of his generation. Chapman sang with bands on the Leicester gig circuit, including the Rocking Rs and The Exciters, then in 1966 he joined rhythm and blues band The Farinas who soon became Family. Over the next seven years Family developed through the psychedelia of their debut Music In A Doll’s House (1968) into one of the most imaginative and respected groups of 70s progressive rock era. Their wide stylistic remit encompassed rock, folk, blues, jazz and eastern influences. They went on to release another six albums, and their singles the Strange Band EP (1970), In My Own Time (1971) and Burlesque (1972) all entered the UK Top 20.

When Family split in 1973 Chapman and guitarist John ‘Charlie’ Whitney continued, initially as a duo, and took a rockier route on their 1974 album Chapman-Whitney Streetwalkers. The line-up morphed into the five-piece Streetwalkers, who toured extensively in the US and UK with The Who , 10cc and Wings , but didn’t achieve the success that their albums had promised and they split in 1977. 

Chapman recorded a debut solo album Chappo in 1979 and has since been a popular live draw on mainland Europe, particularly in Germany, with his backing group The Shortlist. His most high-profile guest spot was singing Shadow On The Wal l on Mike Oldfield ’s 1983 album Crises , which was also released as a single. Family reformed in 2013 and played concerts and festivals on and off until 2016. Chapman had been gigging regularly before the pandemic and in 2021, at the age of 79, he released the acclaimed Life In The Pond , his first solo studio album since One More Time For Peace in 2007, which was expanded and reissued as Peaceology seven years later, and the 2009 compilation Hide Go Seek .

How did you get to join The Farinas?

Quite a few bands in Leicester asked me to join and I sang with them, although I didn’t stay long; I’m not sure if it was my personality. I was in the building trade, a steel fixer, and one day Charlie Whitney and [saxophonist and vocalist] Jim King came on the site and asked me to join The Farinas. So I said yes because they really were the main chaps in Leicestershire. I knew them fairly well and I had a tendency to jump onstage and join in without being asked, which obviously endeared me to them [laughs]. And [bass guitarist] Ric Grech had been in my previous band The Exciters. We were then called something silly – The Roaring Sixties – then Family.

One of Family’s main trademarks was the group’s adventurous arrangements, which date right back to Music In A Doll’s House . Were you consciously trying to sound different?

In about early ’67, we got picked up by John Gilbert, who wanted to manage us, and he moved us all into a house in Chelsea. We started writing our own songs and of course we had to write our own arrangements as opposed to playing other people’s songs and copying their arrangements. And this became Music In A Doll’s House . We didn’t know what we were doing, we were just arranging these things the way that we liked them. There were three or four of us involved in writing songs and the one who had the most input had the most say in what they wanted to hear. From my side there was more rock’n’roll; Charlie was more West Coast; Jim would be jazz.

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We were manipulated quite a bit by John, but in a good way. I won’t take anything away from him. We were quite intelligent people, just naïve in a musical sense. He put us in Olympic Studios, and the sort of people recording there were The Stones and The Beatles, Hendrix and Traffic. I think [Traffic guitarist] Dave Mason was brought in to produce because we were pals, not to order us about, but a good producer does have to have lot of willpower. He has to put up with personalities and what’s going down, but we were actually quite an easy bunch of people to work with. Then there was Jimmy Miller, who produced a couple of tracks as well. But everyone had to remember that people liked us because we were playing the songs that we had arranged, so they weren’t going to alter them much.

You played the Middle Earth club in ’68. Were you influenced by the underground culture?

It wasn’t an influence on us; we were already there. Pink Floyd were in it about a year before we were, but we were all part of that same kind of culture. I used to like those gigs. We were playing our strange arrangements – although they weren’t to us – and various bands said, “How do you play that music?” But it was just natural. 

The early 70s was a time when people were listening out for something new and you could have a hit record with an intense and uncompromising song such as In My Own Time . Did you think that maybe your music could cross over into the pop mainstream?

There was almost an obsession those days that you didn’t put singles out, or if you did it wasn’t your fault. It was a really strange idea. People might say, “Oh you’ve sold out.” I’d say, “Why do you think we release records? Not to hide them under the bed, we put them out to sell.” We put out the Strange Band EP with The Weaver’s Answer on the A-side. I think our record company, Reprise, thought that The Weaver’s Answer could get on the playlist better. 

With In My Own Time Charlie and I thought this could be a good single. We did the intro twice on the first recording [he sings it], and the record company said, “You can put it out but just do it once, it will be too much for DJs to get into.” So we said, “All right, we’ll sell out.” [Laughs.] It was specially edited for radio play, but we kept our original arrangement live and it became a hit.

In the Speakeasy one night Ritchie Blackmore said to me, “How do you write these hit singles?” I said, “I don’t write hit singles, it’s other people who make them into hits. I just write songs.” And Purple went on to write their own hit singles. But then the more I think about it, the less I know.

You’ve said that your lyrics to one of Family’s signature songs The Weaver’s Answer came from literary influences and acid. Was that something you used to take to unlock things creatively?

In California they might take some acid and see if they can write a song, but definitely not in my case. It was nothing to do with being creative, you just took these things to get off on them and to go out. The thing is, when you come back from the club you’re still on it for a bit, so if you try to go to sleep instead of getting to sleep you start getting creative.

I was an avid reader and things I must have read as a kid had stayed in my mind and all of a sudden they were coming out. I started to write it one night and we had a gig somewhere up north next morning and I finished it in the van. 

Some people have said, with regard to your voice, that you could’ve achieved the level of success of someone like Rod Stewart or Van Morrison. Do you ever think about your career in those terms?

I only think about it when I read it. I mean, a lot of these guys have respect for what I have done as a singer; they know that I can seriously sing. But I’ve never really wanted to become a star and I’ve shied away from it at times. I’m just Rog up the street – that’s okay for me. 

Not everyone likes the tone of my voice, but there is nothing much I can do about that. I’ve had people trying to get me to change the way I sang and I thought, “No, I’m not having that at all.” And maybe my approach was like an evangelical preacher down south: you will listen or fuck off [laughs]. 

Your voice has an astonishing vibrato. Did you cultivate that at all?

It was just the sound that came out. I didn’t have a clue that it was there. And when we were making …Doll’s Hous e, about halfway through the album the management brought various popular DJs of the day. And they said, “Wow, your voice!” And I said, “Oh, what have I done?” And all of the sudden they were telling me how different I was.

I couldn’t even hear it on the playbacks. I didn’t think my voice is strange, I was just singing songs. I could be melodic, quite gentle at times, which I was obviously very capable of doing. And then once I’d got on stage and with certain particles ingested, I’d get a lot more enthusiastic [laughs]. Which frightened some people, who thought it was just over the top. In retrospect I’ll agree that it was rather over the top at times. But I just do what I do and try not to injure anybody mentally or otherwise.

When Family split up in 1973 you and Charlie initially carried on as Chapman Whitney. Had you already discussed that option?

I think we had started to record while all what was happening. We were already writing and I’d also recorded some solo material with Jim Cregan producing. It was an ongoing thing; we would just get together every couple of weeks and see what we’ve got. Then Reprise asked us if we wanted to make an album of the songs and it went from there.

Family’s final album It’s Only A Movie has its admirers but it felt like you might be running out of steam… 

Oh, Family definitely ran out of steam and that’s why it folded. It went from being really different and creative to being too ordinary. I like a bit of rock’n’roll myself, but it lost all the good intentions. Booze had also become a big thing and booze doesn’t do your shows any good at all. 

The music that you and Charlie made in Streetwalkers seemed really to be an extension of the funkier style that Family played on Burlesque .

From being Leicester-ites, Charlie and I fell into this whole culture of musicians who were living in London. And whereas for the past seven years in Family you only heard each other playing and got used to that, these guys were different – I wouldn’t say better, but different. After we recorded the album [Chapman-Whitney Streetwalkers] the record company asked us to promote it and we played a show in town and it went very well. We decided to carry on as a group, then Bob [Tench] joined on guitar and vocals and we got Nicko [McBrain, who would later join Iron Maiden] on drums and a guy called Tim Hinkley on keyboards.

Streetwalkers had a more direct sound. I don’t know why it happened like that: maybe it was just Bob’s fiery guitar. As a solo singer I’ve always enjoyed it when people joined in on singing. Jim, Ric and I all used to share vocals in Family and Bob has a fantastic voice. It was like soul singers on a rock base. I think it was quite different for its time. 

You wrote songs with Charlie Whitney for 11 years. Can you describe how the chemistry worked between the two of you?

Charlie would come up with these difficult and magical chord sequences that were just outrageous, and I had some lyrics and just sang a melody straight through them. I could do that without even thinking about it. Maybe if he had been with a more classical person there might have been a more classical direction to these chords. I was the simple one! I had one talent, he had the other, and we merged together very well, it seems.

Did it to come as a surprise when Mike Oldfield asked you to sing Shadow On The Wall ?

Mike had said to this pal of mine, would I like to sing on the album? And I said, “Yes, I’ll sing on anything, really.” I’ve always been like that, it’s just interesting. I met Mike and gave him a couple of my albums, Hyenas Only Laugh For Fun and Chappo . He sent me this riff and it was quite like the sort of music I like anyway. I went to his studio and he gave me an old fag packet with some words on it and we created Shadow On The Wall . And thankfully it went into people’s consciousness and became a huge hit. I was very grateful for that.

Is it true that Oldfield auditioned as a bass player for Family?

When I went to the studio, we were going through certain things and Mike was a little strong, pushing it a bit and I was getting a bit edgy, as you do. He said, “You’re getting the hump, aren’t you? Well, I owed you that because I went for an audition with Family and you blew me out.” [Laughs.] That must have been in 1971 when John Weider left and John Wetton joined. I didn’t remember that, but anyway, good on him!

Why do you think you’ve been so popular in Germany as a solo artist?

The countries in Eastern Europe liked me as well. I don’t know, maybe it’s just my attitude: maybe they just like the freedom of speech more. But I’m grateful for it. In Germany they give more room to do things that are a bit further afield musically. Just because you’re not on pop TV or radio doesn’t mean that you’ll be counted out. 

Did you enjoy the Family reunion? Prog saw you in 2013 at the Shepherd’s Bush Empire. It sounded great and there was a lot of love in the room.

The really emotional part for me was the first two dates, being on stage and recollecting [with] Charlie and Jim and Ric. In retrospect that’s when we should’ve finished. But we got quite a few more offers to go out and do gigs. In rehearsal it sounded like this fantastic orchestra playing Family tunes, it really did, with all the intricacies worked out properly, and adding some musical elements. But some guys wanted us to tear the place up. [Back in the day] we were not thoughtful, we just played it, drunk or stoned. But by the time we got into our 60s and 70s the idea was to make it musical, not trying to rip the ceiling down, and some people didn’t get with it. They were saying, “This is not what Family used to be.” I’m sorry that I couldn’t be sick on the front row, but there you go. [Laughs.] 

One review of Life In The Pond stated: “The band are excellent.” But isn’t it just you and ex-Family multi-instrumentalist John ‘Poli’ Palmer?

It’s all programmed. The only three musicians on it are me, Poli and Geoff Whitehorn [from Procol Harum ] on lead guitar.

Did you work that way because of the pandemic?

Not really, we started it in late 2019. We’ve always been close and recently Poli joined my band – Roger Chapman, Family And Friends. He has a studio in Putney. I said, “I’ve got some new stuff, I’d like to come over and demo some things.” The first song I took over was [opener] Dark Side Of The Stairs . We put it down and said, “This is great, shall we do a few more to see what happens?”

We wrote all the songs together, and did the arrangements and production ourselves. Geoff came in later because we needed a live guitar player. Poli can also play drums, and we’d be doing the songs and saying, “If we were on stage now we’d be doing this,” and we started to add that sort of element into the production. Because the thing I realise is that most of the albums I make don’t get what I do onstage, because I’m more conservative when I’m in the studio. When I’m free and open I can go anywhere. I’m being big-headed, but my timing and tuning is second to none. That’s why it sounds real because Poli and I were making it sound like a band. The only difference is that nothing’s out of time. [Laughs.]

What sort of things inspire your lyrics nowadays?

I never chose to be a songwriter, but thoughts and images came to me and thankfully still do. It may seem a little far-fetched at times, but they are mostly things that have stirred me through the day, although they might be subliminal thoughts, some of them. I’ll just watch TV, see the news and read the papers about all the arseholes that are out there. Writing all this down is the way that I can have a go at them. 

Do you have any plans to play this new music live?

I’m sure lots of people would like me to and I’d like to myself, but I can’t be bothered with booking things in until there’s a definite future. I’m just pleased to get this album out and it’s got a great response from all over the world. The guys from the label Ruf Records seem have a lot of faith in me, and if it does well I’ll bask in the glory. I’ll go to my pub and let everyone buy me a drink. 

Mike Barnes is the author of  Captain Beefheart - The Biography  (Omnibus Press, 2011) and A New Day Yesterday: UK Progressive Rock & the 1970s (2020). He was a regular contributor to Select magazine and his work regularly appears in  Prog , Mojo  and  Wire . He also plays the drums.

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Live music, reviews and opinion / est. 2018, roger chapman – turn it up loud: the recordings 1981-1985: boxset review.

The Family man’s solo adventures continue: Installment 2 in the Cherry Red/Esoteric Roger Chapman reissue programme

Release Date :  28 th October 2022

Label : Esoteric Records

Formats : 5CD boxset

It seems like yesterday, but it was, in fact, back in April, when Moth To A Flame , Esoteric’s first re-evaluation of Roger Chapman’s solo back catalogue hit the racks.  That set focused upon the erstwhile Family man’s first three solo adventures: Chappo (1979), Live in Hamb urg (1979) and Mail Order Magic (1980) and packaged them alongside an eclectic mix of live recordings, studio out-takes and demos.  Well – Esoteric have decided that now is the time to continue with the Roger Chapman story and Turn It Up Loud collates the next phase of Roger’s career; Hyenas Only Laugh For Fun (1981), the double live album He Was… She Was… You Was… We Was (1982), Mango Crazy (1983) and The Shadow Knows (1984).  This time, the remastered albums are complemented by a collection of live tracks culled from Roger’s 1985 Live In Berlin EP as well as a couple of singles and, as we’ve now all come to expect, the whole shebang is lovingly packaged in the signature Cherry Red clamshell box and is accompanied by a wonderfully informative glossy booklet which, like its Moth To A Flame predecessor, includes an all-you-need-to-know essay by music journalist and author Mike Barnes.

By 1981, Roger’s Family past was well and truly behind him.  His star had faded somewhat in his UK homeland but, sur le continent and, particularly in Germany, he had established himself as a bona-fide rock star and, with his band, The Shortlist, was attracting ever-increasing interest in both his studio output and his live appearances (Roger has always attributed his continuing success in Germany to the willingness of German radio stations to include challenging and creative music on their playlists, rather than seeking the safe-but-boring safe ground of the pop charts.)

Disc One of this collection features a remaster of the Hyenas Only Laugh For Fun album.  Chronologically, Hyenas… followed the fine but problematic Mail Order Magic , and it’s an altogether more solid piece of work than its predecessor.  Roger’s band – including Tim Hinkley on keyboards, Nick Pentelow on saxes and ex-Family members John Wetton (bass) and Poli Palmer (synths) – was pretty well consolidated and Terry Barham and Paul Smykle, drafted in to look after the production duties, did a great job.  Hyenas… is packed with fine tunes too; I’ve never really been a lover of the title track, but Killing Time, Hearts On The Floor and, particularly, the choppy The Long Goodbye and the lyric-laden Blood and Sand are all up there with the best of Chappo’s many great songs.

Hyenas… performed well in its target German market (it was voted ‘Album of the Year’ by German pundits) but undeservedly sank without much of a trace in the UK, partly as a result of distribution problems but mainly due to the apathy that had crept into British minds in relation to many of the fine musicians who were around before the new wave broke – Roger Chapman amongst them.  Roger summarized this erosion to his status and credibility, saying “…I just kind of accepted it.  Family had gone – and Streetwalkers – but they kind of liked my first solo album, Chappo, over here.  I got some good reviews and I was doing some good gigs for the first year or so.  But then, all of a sudden, you get small-minded reviews, like: ‘What are you still doing here?  There’s a lot of other people recording; why are you still wasting our time?’  And my music and the way we played had a lot of respect in Europe.  But – they thought they could take you to pieces, then just walk away and leave it like that and it hurt.  Yeah – I did get the arse.  I thought, ‘Well – f*ck you.’  And, unfortunately, I cut my own throat because by stopping coming over to the UK I did start to vanish.” 

From the viewpoint of 2022, it now seems incredible that we, in the UK, allowed all that to happen.  As Hyenas… demonstrates, Roger was producing top-class music (as, indeed, he continues to do right up to this present day) and our failure to accommodate his talents was certainly our loss.  At least we do now recognize Roger Chapman as the national treasure he surely is.  But I digress…

There is a school of opinion, and I count myself within it, that believes that Roger Chapman is at his absolute best when performs live.  Indeed, that’s an assertion with which Roger himself agrees: “[Live work and studio work] are two completely different things for me.  When you’re on stage, it’s all excitement and playing and getting the groove and making it happen.  It’s a lot of fun.  In the studio, unless the band is playing live, there’s no real excitement.  It’s a bit colder and I always had quite a bit of trouble trying to do both, you know?  I couldn’t be the same person in the studio as I was on stage.”  And, recorded during Roger’s Chappo Live tour of Germany during November and December 1981, the live He Was… She Was… You Was… We Was… album demonstrates the sheer power of the live Roger Chapman to a ‘T.’

Released as a double album in October 1982, it was, in fact, Roger’s second live album in just three years – 1979’s Live in Hamburg was the other – perhaps illustrating as clearly as possible Roger’s self-belief in his powers as a live performer.  This time around, the album occupies the lion’s share of Discs Two and Three of the boxset.  The band’s lineup is stellar indeed – Poli Palmer on vibes and synth, the magnificent Geoff Whitehorn on guitar, Nick Pentelow on sax, Leonard “Stretch” Stretching on drums, Steve Simpson on guitar, mandolin, violin and viola, Tim Hinkley on keyboards and no less a personage than King Crimson/Bad Company refugee Boz Burrell on bass.  And, by heck, do they cook…

The material chosen for the live set is a mix of tracks from the contemporaneous Hyenas… album, a selection of songs from earlier in Roger’s solo career and an inspired pick of stunning cover versions.  So, alongside cuts like Blood and Sand, Hyenas Only Laugh For Fun, Prisoner and Common Touch from Hyenas… we’re also able to enjoy exhilarating versions of Chappo classics like Higher Ground, Unknown Soldier, Night Down (No.2: A la ZZ) and ( a personal favourite of mine) Ducking Down, PLUS sublime takes on blues standards such as Slim Harpo’s King Bee and Muddy’s The Same Thing and, best of all, an amazing medley of Hendrix’s Stone Free and Miles Davis’s Bitches Brew.

By 1983, Roger’s profile in the UK was beginning to rise again, thanks mainly to the guest vocal he delivered on the hit Mike Oldfield single, Shadow On The Wall and expectations for Mango Crazy , the next Chapman album were high, both in Europe and in the UK.  It is, indeed, another excellent album (Disc Four in this collection) although Roger remains critical of the production standard achieved by Geoff Whitehorn and himself: “…I’d already told the management two albums before that I didn’t want to produce as I wasn’t very good at production.  But the idea was to let me and Geoff come in and I assume, in retrospect, they did that because they didn’t want to pay anybody else when they could get away with not paying me and Geoff.  It’s kind of amateurish and I let it happen.  I just listened to others when I should have followed my own head and I didn’t.  It took me a couple a couple of albums to get back to doing it properly.” 

Well – they do say that we’re always most critical of our own efforts and that minor flaws, invisible to outside observers can often be massively exaggerated by their creator.  And, to be honest, I believe that’s what Roger is doing here.  Mango Crazy is an excellent album, full of genuine highlights.  Toys: Do You? Is Chapman at his funky, sleazy best, The Latin rhythms of Los Dos Bailadores are delightful and Turn It Up Loud harks right back to the classic Chappo in his Burlesque and In My Own Time pomp.

Boz Burrell had hung around for Mango Crazy and his solid bass playing is a real feature of the album.  Poli Palmer and Tim Hinkley, both stalwart presences in Roger’s band for a number of previous years had, however, decided to move on, and they were replaced by Ronnie Leahy – formerly of Stone The Crows – and ex-Cockney Rebel and Kate Bush accompanist Duncan Mackay.  By the time of 1984’s The Shadow Knows album, however, it was all change once again.  Geoff Whitehorn and Nick Pentelow remained, but Tony Stevens stepped in to replace Boz, Brian Johnston assumed keyboard duties and the drum stool was shared between Sam (Mango) Kelly and John Lingwood.

Of all the albums included in the Turn It Up Loud boxset, The Shadow Knows is probably the collection with the most typically “eighties” sound.  Keyboards, slapped bass and electronic percussion are a dominant feature – not normally to my taste, but The Shadow Knows is not without its endearing moments, notably the poppy How How How and the soulful I Think of You Now.  The Shadow Knows forms the first half of Disc Five to this set, with the second half mainly occupied by the four tracks of the Live in Berlin EP.  Originally released in early 1985, the EP is yet further proof, should we require it, of the sheer power of a Roger Chapman live performance.  The version of Shadow on the Wall knocks the Mike Oldfield single into a cocked hat and the eleven-and-then-some minutes of Mango Crazy are a sheer delight, with Geoff Whitehorn showing us just what he’s capable of when he’s let loose.

Turn It Up Loud is an excellent compilation indeed.  It’s a comprehensive re-evaluation of an often-overlooked period in the career of one of our most original and durable performers.  Roger Chapman is not now, nor never has he been, a musician with universal appeal but, to the converted, his work is invaluable.  These albums, and particularly the live He Was… She Was… You Was… We Was… and the tracks from the Live in Berlin EP show him at his best.

Watch Roger and his band perform Prisoner, the opening track to his 1981 Album, Hyenas Only Laugh For Fun, here:

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Tagged as: Album Review , Cherry Red , Esoteric , Family , Featured , roger chapman

Published by John Barlass

John has been a music obsessive since he first heard 'Love Me Do' seeping out of the family radio in 1962. he spent a career in the rail industry before turning back to his first love of music. He plays bass guitar and melodeon, loves folk/rock and lives in Warwick. View all posts by John Barlass

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Roger Chapman

Former Family and Streetwalkers frontman with an incredibly gravelly voice and a blues rock pedigree to match.

Official website Chappo.com

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Past Events

Here are the most recent UK tour dates we had listed for Roger Chapman. Were you there?

• Feb 04 2020 O2 Academy Leicester Roger Chapman
• Feb 02 2020 London, O2 Shepherd's Bush Empire Roger Chapman
• Feb 01 2019 Southampton, The Brook Roger Chapman
• 2019 Jan 25 Jan 28 2019 Minehead, Butlins Skid Row, Roger Chapman, Sweet, Atomic Rooster, H.E.A.T., Dare (1), Geordie, Focus, Kingdom of Madness: Classic Magnum, Cats In Space, The Chris Slade Timeline, Martin Barre's Jethro Tull, Brian Downey's Alive And Dangerous, Eric Bell Band, Elliott Randall Band, Oliver/Dawson Saxon, Man, Zal Cleminson's Sin Dogs, Rhino's Revenge, Wille & The Bandits, Vega, Clearwater Creedence Revival, Geordie, The Bon Jovi Experience, Bad Touch, FM (1) …
• Aug 03 2018 London, Under The Bridge Roger Chapman
• 2018 Jan 19 Jan 22 2018 Skegness, Butlins The Great British Rock & Blues Festival Roger Chapman, Nazareth, Atomic Rooster, Frankie Miller's Full House, Dare…
• Jan 18 2018 Newcastle upon Tyne, NX Newcastle Roger Chapman
• Jan 13 2018 London, O2 Shepherd's Bush Empire Roger Chapman
• Jan 11 2018 O2 Academy Leicester Roger Chapman
• Jan 09 2018 Southampton, The Brook Roger Chapman

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Roger Chapman Legendary Singer of 'Family' and 'The Streetwalkers' Exclusive Interview!

Roger chapman talks about the newly remastered 3cd boxed set of the 1971 classic album 'fearless'.

LEGENDARY PROG ROCK GROUP ‘FAMILY’ RELEASING “FEARLESS” REMASTERED 3CD EXPANDED EDITION FEATURING BONUS TRACKS AND BBC SESSIONS: EXCLUSIVE INTERVIEW WITH LEAD SINGER ROGER CHAPMAN Hello everyone and welcome to another edition of Interviewing the Legends I’m your host Ray Shasho. Roger Chapman, guitarist John ‘Charlie’ Whitney, drummer Rob Townsend, bassist and vocalist John Wetton and multi-instrumentalist John ‘Poli’ Palmer on vibes, keyboards and flute, Family’s “Fearless” was released in October 1971 and was the first album to feature new member John Wetton following the band’s second US tour in 1971 and the UK Top Ten hit single “In My Own Time”. The album was one of Family’s finest and reached the UK Top 20 upon its release, featuring such strong material as “Spanish Tide”, “Burning Bridges” and “Between Blue And Me”. This new three-disc edition of this classic album has been newly remastered from the master tapes and also includes 24 bonus tracks drawn from the “In My Own Time” single, BBC Radio sessions and a fine performance for BBC Radio One In Concert in December 1971. This new expanded remastered release also features an illustrated booklet with a new essay. PLEASE WELCOME SINGER/MUSICIAN BEST KNOWN AS THE LEAD SINGER OF PROGRESSIVE ROCK GROUP FAMILY AND STREETWALKERS… “CHAPPO” ROGER CHAPMAN TO INTERVIEWING THE LEGENDS …. PREORDER THE NEW REMASTERED  3CD CLAMSHELL BOXED SET  OF THE CLASSIC 1971 ALBUM BY FAMILY FEATURING 24 BONUS TRACKS INCLUDING THE ‘IN MY OWN TIME’ SINGLE AND BBC SESSION AND IN CONCERT PERFORMANCES FROM 1971 REMASTERED FROM THE ORIGINAL MASTER TAPES. WITH AN ILLUSTRATED BOOKLET FEATURING AN ESSAY AND A REPRODUCTION POSTER. Featuring vocalist Roger Chapman, guitarist John ‘Charlie’ Whitney, drummer Rob Townsend, bassist and vocalist John Wetton and multi-instrumentalist John ‘Poli’ Palmer on vibes, keyboards and flute, Family’s “Fearless” was released in October 1971 and was the first album to feature new member John Wetton following the departure of John Weider following the band’s second US tour in 1971 and the UK Top Ten hit single “In My Own Time”. The album was one of Family’s finest and reached the UK Top 20 upon its release, featuring such strong material as “Spanish Tide”, “Burning Bridges” and “Between Blue And Me”. PREORDER AT: https://www.cherryred.co.uk/product/family-fearless-3cd-expanded-edition/   ALSO PURCHASE LIFE IN THE POND By ROGER CHAPMAN available at amazon.com A studio album by Roger Chapman is always an event. Since '66, when the British singer-songwriter emerged as the voice of his generation with the seminal Family band, through every twist of his four-decade solo career, Chappo's output has defied music industry protocol, challenged genre, and held up a mirror to the times. "I've never stopped writing," he reflects, "and with Life In The Pond, I felt the need to hear what I'd put down in music." Released in 2021 on Ruf Records and Chappo Music, Life In The Pond draws a line under a period in which the 79-year-old had been absent from the studio but privately prolific. Twelve years since 2009's acclaimed rarities collection Hide Go Seek, "A true lionheart still roars," enthused The Mirror, Life In The Pond reconnects the veteran with faces from his past - including ex-Family multi-instrumentalist John 'Poli' Palmer as co-writer and producer - while taking the pulse of modern life. *****STARS! FOR MORE INFORMATION ABOUT ROGER CHAPMAN AND FAMILY VISIT www.familybandstand.com The unofficial Family homepage and online archive …   DISCOGRAPHY FAMILY     Music In A Dolls House (1968)     Family Entertainment (1969)     A Song For Me (1970)     Anyway (1970)     Old Songs New Songs (1971)     Fearless (1971)     Bandstand (1972)     It’s Only A Movie (1973)     A’s & B’s (1992)   Streetwalkers Albums     Streetwalkers Reprise K 54017 (1974)     Downtown Flyers Vertigo 6360 123, Mercury LP SRM-1-1060 (US) (1975)     Red Card Vertigo 9102 010, Mercury SMR-1-1083 (US), Repertoire REP 47-WP (CD) (1976)     Vicious But Fair Vertigo 9102 012, Mercury LP SRM-1-1135 (US) (1977)     Streetwalkers Live Vertigo 6641-703 (1977)     Best of Streetwalkers CD, CA, LP Vertigo 846-661 (1990)     BBC Radio One Live CD Windsong (1995)   Singles     "Roxianna" b/w "The Crack" Reprise K 14357 (1974) - released as Chapman Whitney Streetwalkers     "Raingame" b/w "Miller" Vertigo 6059 130 (1975)     "Daddy Rolling Stone" b/w "Hole in Your Pocket" Vertigo 6059 144 (1976)     "Chilli Con Carne" b/w "But You're Beautiful" Vertigo 6059 169 (1977)   ROGER CHAPMAN Solo Albums     Chappo (1979)     Live in Hamburg (1979)     Mail Order Magic (1980)     Hyenas Only Laugh For Fun (1981)     The Riffburglar Album (Funny Cider Sessions) (1982)     He Was... She Was... You Was... We Was... (Double, Live) (1982)     Swag (as the Riffburglars) (1983)     Mango Crazy (1983)     The Shadow Knows (1984)     Zipper (1986)     Techno Prisoners (1987)     Live in Berlin (1989)     Walking The Cat (1989)     Strong Songs – The Best Of ... (1990)     Hybrid and Lowdown (1990)     Kick It Back (UK compilation) (1990)     Under No Obligation (1992)     King of the Shouters (1994)     Kiss My Soul (1996)     A Turn Unstoned? (1998)     Anthology 1979–98 (1998)     In My Own Time (live) (1999)     Rollin' & Tumblin (live) Mystic (2001)     Chappo-The Loft Tapes, Volume 1: Manchester University 10.3.1979 Mystic (2006)     Chappo-The Loft Tapes, Volume 2: Rostock 1983 Mystic (2006 )     Chappo-The Loft Tapes, Volume 3: London Dingwalls 15 April 1996 Mystic (2006)     Chappo-The Loft Tapes, Volume 4: Live at Unca Po's Hamburg 5.3.1982 Mystic (2006)     One More Time For Peace Mystic (2007)     Hide Go Seek Hypertension Records (2009)     First Cut: Chapman-Whitney Streetwalkers, digital rerelease Mystic Records (2010)     Live at Rockpalast Markthalle Hamburg 1979 (2014)     Live at Grugahalle Essen 1981 (2014)     Maybe the last time (live 2012)     Life In The Pond (2021)   Singles     "Imbecile" (1979) Mike Batt with Roger Chapman. From the album Tarot Suite.     "Shadow on the Wall" (1983) Mike Oldfield with Roger Chapman     "How How How" (1984)   DVDs     At Rockpalast Wienerworld (2004)     Family & Friends Angel Air (2003)  

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An audience with Roger Chapman: “I could sing my arse off when I was a kid”

Chapeau to Chappo! The former Family frontman looks back on a long career spent dodging spivs, scallywags and hypnocrats to hobnob with Jimi, Elton and the Stones

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Send us your questions for mike campbell, “i’m still kicking”, can announce live in aston 1977, broadcast release an unheard vocal take of “the games you play”, the beatles’ let it be is coming back to screens.

“I’m just moving inside,” says Roger Chapman , as a sudden thunderstorm batters the conservatory of his home in Southwest London. “I don’t wanna get sparked out, I’m too young!”

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Chappo may be 80 now, but he still has plenty to give. Last year’s invigorating Life In The Pond  set, created with the help of his old Family bandmate John ‘Poli’ Palmer , found him snarling colourful warnings about “ two-faced hypnocrats ”, “ loudmouths craving limelight ” and a “ devil on your shoulder ”. He’d love to play the album live but needs to overcome a couple of health issues first. “Since the album was released I’ve had two or three operations,” he reveals. “I had Covid twice! And I need another op before I can think about going out on stage. Things need to be tidied up, so to speak. Spinal problems, neuro stuff, so it gets to be quite difficult at times. But I’d love to go on stage again, for sure. I can still sing!”

Indeed, he got together with Poli just last week to workshop some new material. Despite not having any kind of set songwriting routine – “I never have,” he admits – the lyrics are still flowing, with the hypnocrats certainly giving him plenty to rail against. “Sometimes it gets too stroppy, so I have to be careful!”

Your new album sounds pretty fired up, especially on “Green As Guacamole”. Is that kind of anger at ‘the state of things’ a good spur for making music?

Malcolm Taylor, Kettering

Yeah. If I sit down and think about these arseholes on the news, I do get pretty fucking twisted. To be honest I’ve never really written songs like this, not for many years anyway. And I’m really pleased I did, because it gets it out your system. And maybe it’ll pull somebody else around to seeing what a phoney bunch we’ve got. There can’t be many left out there believing in ’em, can there? Jesus Christ. I’m off already, you see! I don’t want to preach too much, but basically they’re my thoughts. A lot of the delivery [of the songs] depends on how angry I am. Or how not  angry I am. If I want to, I can make any kind of melody sound aggressive, but I hope I’ve also got the know-how to make a track sound gentle.

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HIT CHANNEL EXCLUSIVE INTERVIEW : October 2023. We had the great honour to talk with a legendary vocalist: Roger Chapman . He is best known as the frontman of Family , a highly influential psychedelic/progressive rock band of the late ‘60s and early ‘70s. Their “Fearless” (1971) and “Bandstand” (1972) albums are now being re-released in remastered and expanded editions by Esoteric Recordings . Roger has also been a member of Streetwalkers (featuring John “Charlie” Whitney of Family on guitar and Nicko McBrain -before joining Iron Maiden- on drums), collaborated with Mike Oldfield on “Shadow on the Wall” (1983) single and has an acclaimed solo career since 1979. His latest solo album is “Life In The Pond” released in 2021. Read below the very interesting things he told us:

Just to make a good album, I think (laughs). Just to be happy with the end result. There was no real musical vision, we just came and wrote songs and recorded them and hoped it was a good album. Of course, it was. All they were.

Do you think the new 3 CD expanded edition of “Fearless” by Esoteric Recordings is a good opportunity for younger listeners to learn about the music of Family?

Yes of course, it gives a different insight of what we did. Many years have passed since their first release. Hopefully, it will make many other people and the original people they bought the album anyway, more interested to listen to what actually was going on with Family at that time outside those albums.

“Fearless” was the first Family album featuring John Wetton (King Crimson –bass, vocals). What did he bring in the band when he joined?

Many! Obviously, his unique bass playing technique, because he was a great bass player. He also had a very good singing voice and he played piano and a little violin (laughs). That’s quite a lot, just to start. To be honest, we accepted him into the band because he came to the audition and he was a great bass player and a really nice man. A lot of other things, like the singing and piano playing came later when we all went into the studio. John, actually joined Family when we were halfway making the album anyway and he came and put his bass on after we put all the tracks down.

I love “Take Your Partners” from “Fearless”. What’s the story behind this song?

I showed my aggression (laughs). Just Poli Palmer (ed: vibes, keyboards, flute) and myself wrote that song. I suppose I just go into different phases: I can write a good, gentle lyric, but then I can write an aggressive lyric and that was an aggressive lyric.

I mean, I wish they had it done; it was one of my songs. I don’t think the band ever dreamt putting “Glove” out as a single. It’s only recently that I have heard this from one or two sources, besides yourself. We just thought that the songs were good enough to put on an album, but it was just one of ten songs. But obviously, “Burlesque” was the single and what they went for, because it was the most immediate, commercial-sounding song. Nobody ever mentioned anything about “Glove” being the single. So, I wish it had to be. Probably, it would be selling more (laughs).

You got Poli Palmer and Geoff Whitehorn (Procol Harum –guitar) on your latest solo album “Life In The Pond” (2021). Could you describe to us the writing and recording process of the album?

Poli and I, have always worked together over the past 50-odd years through one connection or another. Whatever band I am in, he is going to be a part of it, in one way or another, coming with his vibe playing and all his synths and things like these. So, Poli and I, have always been in contact. So, we just got together and I said: “I was writing at home”, that’s what I always do I suppose and I said: “Can I come down and work on some new songs that I am writing?” and he said: “Yes” and I went over to his home studio and we just started put things down on the first song which was “Dark Side of the Stairs”, actually. It just seemed obvious that we should do more writing together. So, I went back to his studio, obviously many times and we wrote the songs in his studio and then we recorded them together. Of course, none of us really plays electric guitar, anyway; I play acoustic. But we wanted to use electric guitar and Geoff really was the first choice because, Geoff and I, again work together for 40 years, in one way or another. I would say it was a natural choice to ask him to put some guitar on the songs.

“On Lavender Heights” from “Life In The Pond” is truly amazing! What inspired you to write this song?

I heard an old-fashioned, Victorian, dining room piano and it just inspired me to write lyrics around this type of sound, this type of piano. It’s very gentle, very melodic, really quite romantic and it just inspired me to write some lyrics around it.

Yes. I’m not completely satisfied. I mean, we ‘ve got some great reviews on it, I have to say. Really splendid reviews from all over the world, a lot in America, which is unusual for me, because Americans don’t usually like my kind of music. I only say this because they don’t buy my discs (laughs). Whether it was released there or not, I don’t know. We got very good response in promo time from reviewers and things like that, although I don’t know how many it actually sold; a few thousand, I would say. Nothing in millions and all that, just a few thousand copies, I think. You know, they will all want to enjoy music one day (laughs).

Are you proud that “Music in a Doll’s House” (1968) is considered a classic album?

Of course!  Blimey, yeah! I mean, I’m really very lucky to be a musician. For my whole life, I ‘ve worked to something I love to do and it’s my hobby, my life. My life doesn’t extend very much outside of just writing and playing music and hasn’t been for 60-odd years and I think I’ve very-very lucky to have that. I have many highlights in my life, but “Music in a Doll’s House” is probably the first one, because it was the first album I was involved in and with Family of course; we had a few proud moments together and then I have since, as well, but I don’t want to boast about things.

My favourite Family song is “Me My Friend” from “Music in a Doll’s House”. Could you tell us a few words about this song?

(Ed: He sings the melody) Again, Thodoris, it’s such a long time ago. It was just my call for natural life idea. I don’t really write love songs or hate songs. They are just thoughts that come into my head at the moment, but it was obviously about friends and not a particular friend I would think. Again, I don’t really remember that thought in that sense: It starts with calling our friends, really. I wrote poetry. Everything I write doesn’t always relate to me. I write a song about our little sphere, our world and topics and things, as I write politically, too. It’s just my thoughts on everyday worldly things and what was passing me at the time. I hope that explains, really.

Had you realised when you recorded “Music in a Doll’s House” that your compositions and arrangements were very unusual for most listeners at the time?

No (laughs), in a word. We just rehearsed in a rehearsal room in Leicester; Leicester is the town where Family were originally from. The band would get together and we rehearsed new songs that probably John Whitney (guitar) and myself had written. We would just rehearse those and go in the studio and play them, really. We never thought we were doing anything different. What probably started it -because we were basically a 4 or 5-piece jazz group- and all of a sudden, John Whitney and I, we started writing songs. So, I suppose because we had new songs, therefore we had to arrange them ourselves as opposed to copying; because we were playing other songs, we just copied the original arrangements of other people’s songs. But now we had to arrange our own songs, so, we had nowhere else to go except our own mentality and thoughts. No, we never thought we were doing anything different, at all. No. We just did it, I suppose. We just created them in our own small world.

Very much. Before that, he was a friend, anyway. He was in Traffic, with Stevie Winwood, and the two bands were friendly with each other, anyway. We were all from Midlands of England: They were from Birmingham, we were from Leicester. We had a sort of outlook which was similar. So, Dave was brought in by our management as our producer. Well, it was good to have a friend come in and help us through. Especially, being for the first time in a studio making an album you need somebody who has the experience of recording and Dave came in and we were lucky to have him.

Do you have any memories from the Rolling Stones concert at the Hyde Park that Family also performed, just a few days after the death of Brian Jones?

Yes, I do have a few memories. One of the most memorable things was when Mick Jagger came on stage and let all the butterflies out, which was a nice thought, but it didn’t end very well because a lot of butterflies collapsed, fell and died. Anyway, that’s another story. I remember it, because it was quite a fire for ourselves. I was also pleased to watch King Crimson live, that I love. We were all on the same bill together. I think it is one of the highlights of my life, it was a really good concert to all concerned, except for Brian, of course. Anyway, that’s about the story.

How did you feel when Ric Grech (bass) left Family to join Blind Faith (featuring Eric Clapton, Steve Winwood and Ginger Baker ) ?

Terrible! We were on our first tour of America, on the first gig and we were in the lobby of the hotel waiting to go to the gig which was the Fillmore East in New York and our manager told us in the lobby that Ric was gonna leave, which wasn’t a good thing on our first gig. Of course, we blew it on the gig, we were all depressed and we had a terrible show and we were a great band; we were a really good live band. But because of that, it hit us so hard that we couldn’t really play a proper show. So, it hit us really badly. It was really wrong in time the way it was done towards us, you know, they way we all learned about it. It’s not a good moment in my life or any of others’ lives.

You met Ritchie Blackmore (Deep Purple, Rainbow –guitar) once at the Speakeasy Club in London. What did he ask you?

I met Ritchie a few times, I think. I think I met him in LA. We were usually all so stoned that I’m not very sure (mad laughs). They were two or three of the guys, Deep Purple, they were doing well, but they were desperate to write a hit single. They asked me: “How do you write hit songs?” and it was such a strange question. It was supposed to be Ritchie that asked me, I thought it was Jon (ed: Lord), the keyboard player, but maybe it was Ritchie. Anyway, good chaps and a great band, again. Friends from that era, you know. I didn’t know what to say, really. I said: “I don’t write hit songs. I would love to think that would be hit songs. I just write songs and if they are hits, it’s fantastic”. I am a musician, not some kind of country/western boardroom writer. I don’t do that. I just write based on a poem. I like to think myself as a poet and I like poetry, really. I don’t write hit songs. If they were, they were good.

Possibly, but the thing is that Bill never really had anything against us. Again, that was the gig that our management, just before, told us that Ric was leaving us. This was the gig that I was expressly talking about it earlier. Of course, we were seriously broken and I think I was angry and we were playing shit, that band was just playing shit, we couldn’t really get any groove going on the songs together. I think I was getting mad, let’s put it that way, and I threw things on the stage and I nearly hit Bill Graham with that (ed: the microphone stand). It didn’t actually hit him, but of course he went mad and he was the biggest promoter in the States at that time and I don’t think it helped. I still blame the Ric Grech incident for all that. It just ruined our name and everything in the States. Not a good subject, really.

Did you get on well with Peter Grant when he was tour manager of Family?

Very much, so! He was a really good man. I still have big appreciation for him, because I‘ve loved the way he managed Zeppelin. I just think, if only we have had a manager that was as good as that, I bet we would have been as big as Zeppelin. But unfortunately, we didn’t. But he was a great manager for them. There were very few good managers; very few who actually gave their heart and soul to the band they managed, to the musicians that they ‘ve managed. But he was one of the few that really gave everything, shared everything with them. Honestly, he really made them what they were and what they still are. So, I enjoyed him really managing us. He tried as hard as he could. We were in a lousy state when Ric left within a week as we were into the States and a new bass player came in, which was John Weider (ed: On Peter Grant’s recommendation). We started the band again while we were supposed to be hitting big in the United States. It all didn’t work very well, but Pete was great. He was a great asset for us for the short time we knew him.

The myth says that The Jimi Hendrix Experience were afraid to follow Family at festivals. Was there any kind of competition between the two bands?

No (laughs). We were all just really good friends. To be honest, they used to ask if we could support them because then, in particular, we had a really great show. We supported Jimi because it was very difficult to follow Jimi. But at the same time we were a great band in our own right and we could clear the stage as well as anybody. But, I won’t say they were afraid at all. They were giants and we were minnows. They were whales and we were minnows, if you understand my terminology. We were little fish, they were big fish, is what I’m trying to say. No, you couldn’t really blow Jimi off the stage. He was genius personified, you know. They were really good guys, the guys I ‘ve worked with, on and off. We did some pieces in the ‘60s and early ‘70s. They were really good friends. No-one could blow them off, figuratively. We were hard to follow, but not by Jimi Hendrix. Be kind (laughs).

How did it happen to have Mitch Mitchell (The Jimi Hendrix Experience –drums) playing drums on your “Mail Order Magic” (1980) album?

Again, Mitch and I, were just really good friends. Mitch was at the house where I was writing my own songs. I used to demo at Boz Burrell’s (ed: King Crimson, Bad Company –bass) house. We were all friends, we used to hang out together and went to the same pubs. Boz had a very nice house with a nice studio in it and we all used to go around there late at night doing nightly recordings. So, I was demoing my songs in Boz’s house, then the same guys would come with me in studio. Mitch was one the guys, with Poli Palmer as well. All kinds of people. A bunch of guys, we were all friends, we were all musicians. We could come and write and record things through the night. In a casual sense, he was part of my songwriting team.

Again, John and I were friends. I mean, he liked me because I was a Leicester guy and I want to think of myself as reasonably normal. Yes, we were good friends and I don’t know… All these guys you are talking about are my friends, Thodoris. I don’t think of them as workmates, we were friends together. So, it’s normal if I have got married when John was alive, sure I would have invited him to my wedding (laughs).

How emotional were for you the Family reunion concerts at the Shepherds Bush Empire in 2013?

Oh, very much. I think there were a couple of moments on stage when tears started welling up; just the memories of the things. It was nice to do and I’m glad that we only did it for a short time, because it did mean to the world, really, too much. The music of Family is pretty esoteric anyway, so I suppose it only needed to just play a few concerts and I’m glad we did. I don’t think we should have pushed it any further. But yes, they were very emotional.

I think Streetwalkers’ “Red Card” (1976) is a very underrated album. Would you like to tell us a few words about this album?

Yes, what is funny about that is that we finished up as a 5-piece band, but when we went to rehearse the songs, we had a piano player with us, who had worked with ourselves in things previously. So, when we rehearsed the songs in the rehearsal studio, the day before we were going to the studio to record, the piano player’s manager said: “My piano playing guy wants so many thousands of pounds or he is not going into the studio with you tomorrow”. So, we went: “Well, you can fuck off!” because we didn’t give a shit, anyway. It’s not really a good attitude from one musician to another. So, we told him to fuck off and we remained five: two guitars, bass, drums and myself. We went into the studio and made a great album. I think it made us more positive as a band to execute it and actually the album did very well over here, in the UK. Later, we went out and toured with it in Europe. Actually, Streetwalkers did quite well in Europe live, because again we were a very good live band. Yeah, it was a good album.

(Laughs) Again, you talk about my friends. Well, fantastic and of course they liked Family and I hung out with a couple of other guys from The Who at times. Yeah, it was always very nice to be asked by friends who appreciated our band and it was enormous to walk on stage with them and we supported them in huge concerts. Yeah, it was so well. All these people you are talking about are pals of mine, one way or another.

Do you have any contact with Nicko McBrain (Streetwalkers, Iron Maiden -drums) nowadays?

Very rarely. Over the past 30 years, I probably met him about 3 times and probably in airports. We were going to one gig and he was going to another. He seems OK, he settled down and lived in the States for many years, I think, got married, became religious, which I was quite shocked at with Nicko, because he was never religious in Streetwalkers (laughs). Again, I’m pleased to see he did very well with Maiden. But we are not in too much contact.

Did you enjoy collaborating with Mike Oldfield in “Shadow on the Wall” single (from “Crises” -1983)?

Of course! Of course, because he did me an enormous favour, being such a hit in Europe. Again, it was very nice of Mike to ask me to come and help on his album and things and we did it well. Again, he is a guy I don’t really see very much. I ‘ve met him in the studio a couple of times, but I ‘ve not really seen him over the years very much. That was great! He did me a great favour, actually and I will never be grudging him. “Shadow on the Wall” is a great song and I did a great performance on it.

Yeah, lots of girls (laughs)! Yes, lots of very nice girls. Well, they wanted us to be on this with Dylan and The Band (ed: in 1969, when Family also performed), Jimi, all the amazing bands at the time, The Who -blimey!-, even Joni Mitchell. To be honest, we enjoyed going there just to be out to see all the other artists. Probably, I enjoyed that much, more than actually playing. I remember more about seeing the artists than I do about playing the gig. But we had a good time. We were bound to have a good time, again, because we were a good band. It was great to see those other people like Dylan, The Band, Joni Mitchell, Jimi, even Miles Davis! Ridiculous! Ridiculous musical people! So yes, wonderful times!

Was it an interesting experience to make an interview with Rick Wakeman (Yes -keyboards) on his TV show   in 2009?

(Mad laughs) No, really! No! He is a good chap, you know, a very nice chap. But it’s an interview. We are just musicians. No, it wasn’t a big deal. It’s always nice to be asked as it’s nice to be asked by yourself. It wasn’t a big deal such a thing.

Did you like other bands of your era like Soft Machine?

I would take them or leave them, to be honest. I mean, I really loved Cream, more that kind of jamming, jazzy rock type of thing; Miles Davis of course, but I don’t really know that band too much, to be honest.

In August, you performed at the John Wetton Memorial Gig along with many other great musicians. Could you describe to us the atmosphere of that evening?

It was very nice. I’ve never heard of the venue before (ed: Trading Boundaries in East Sussex). Of course, all the people that were involved had been part of John’s life as he had been included in various bands. It was a nice, warm feeling towards a very nice, gentle and great musician that he was. It was a nice feeling, a nice thing. You get sentimental as well about it because if you knew John, you would think of the tragedy that he was gone so early. Yeah, it was a nice evening.

Oh, I’m not sure I should tell you (laughs). We discussed curries, Indian food, amongst many other topics. That’s it for now. You can’t go on with that, really (laughs).

Do you recognise your influence on Peter Gabriel’s works?

Not too much, to be honest. There is maybe an early similarity, vocally; maybe some writing. I think all of us were a little bit the founding men. But at the same time, he is such a great musician himself, he is more than capable of writing his own genius music. I like him a lot, actually. I liked him all the time he was with Genesis. I liked Genesis when he was with them, but I didn’t like them as much when he left. That’s not to say anything bad about Genesis, but I prefer their music when he was with Genesis.

John Lennon famously had an obsession with Procol Harum’s “A Whiter Shade of Pale”. Had you ever been obsessed with another artist’s song?

Oh, I didn’t know that John Lennon had an obsession with “A Whiter Shade of Pale”. Myself, had an obsession with “Rubber Soul” (ed: The Beatles’ 1965 album). If you listen to the UK radio tonight (ed: 31 st October) at 8:00, I have actually done an interview where a guy has asked me to pick my 20 favourite songs   from my life… a long time. I don’t know really, it’s a difficult question. But I’m not obsessed now with a particular song, no. I like many songs by other artists. I mean, I listen to Tom Waits a lot, I still listen to Muddy Waters a lot, I listen to Howlin’ Wolf a lot, I listen to Fiona Apple, I still listen to Joni Mitchell. I don’t listen to much modern music, I have to say. The most modern music, I suppose, I listen to it, is country/western and not the country/western that is really played like the rock bands did in the ‘70s (laughs). I don’t have a particular favourite, just various artists that I still enjoy.

Looking back do you wish Mike Oldfield got the job as the bass player of Family when he auditioned?

(Laughs) No, as he would never ask me to be on his albums. I mean, he told me that when I was in the studio when we were making “Shadow on the Wall”. He said: “Did you know, I tried to be auditioned?” I said: “No! Not at all!” I didn’t know his name then, he was just an unknown quantity. By the time, I recorded with him (ed: 1983), he was a giant in the music business. A funny moment, a good moment.

A huge “THANK YOU” to Mr. Roger Chapman for his time! I should also thank Billy James for his valuable help.

Buy Family’s “Fearless” album here: https://www.cherryred.co.uk/product/family-fearless-3cd-expanded-edition/  

Buy Family’s “Bandstand” album here: https://www.cherryred.co.uk/product/family-bandstand-cd-edition/  

Buy Roger Chapman’s “Life In The Pond” here: https://www.amazon.com/Life-Pond-Roger-Chapman/dp/B0947L3PQ4

Roger Chapman Appreciation Society website: http://www.chappo.com/

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FAMILY Family, with Roger in stripes Roger Chapman is Fearless Interview by Robin E. Cook (December 2023) Fearless was a perfect title for Family's 1971 album. As singer Roger Chapman says, Family was "quite a brave band." For Fearless , Chapman, guitarist John "Charlie" Whitney, multi-instrumentalist Poli Palmer, and drummer Rob Townsend were joined by new bassist John Wetton. On the resulting album, the band romps between barroom blues, quasi-progressive rock, funk, and folk-rock. The result is one of the finest examples of their wildly eclectic approach. Chapman himself shared recollections about the making of Fearless and his subsequent solo career for Perfect Sound Forever . Fearless has been reissued by Cherry Red Records into a 3-CD edition with 24 bonus tracks, an illustrated booklet and more. You can see more about it here: https://www.cherryred.co.uk/product/family-fearless-3cd-expanded-edition/ PSF: First of all, how did John Wetton come to join the band? RC: The bass player at the time, John Weider, left the band and we auditioned some bass players. John Wetton was one of the auditioners, is that the word? Auditioneers? He was there and he was great. And so obviously [he] became the choice to join Family. PSF: You guys had just come off a tour with Elton John in 1972. What was that like? RC: Fantastic . He's a good man to be on tour with . It was just really good, you know. Exciting, of course, because Elton's gigs are much bigger than we were used to. You know, more people, bigger halls as it were. And himself, all his crew and his band were all good, nice people, and made you feel welcome even though you were just a support band, you know? So it was a great thing to be involved in, really. And it opened your eyes, obviously, because we toured a lot of places we wouldn't possibly have gone to just as Family and seen it such a lot of stuff like that. But I mean, yeah, it was a wonderful thing for us. PSF: About your previous album, Anyway (1970), which was part live and part studio. Why did you decide to go with that format? RC: We did a show at [Fairfield Halls] in London. And we actually wrote some new songs that we rehearsed in the afternoon and decided to do them on stage, which was kind of quite brave. We were sort of quite a brave band, to be honest- brave in a musical sense. We thought, 'well, that'd be different to do,' you know, kind of do new songs, but played live, and never heard of before, put it on an album. So, that's what we did. I think we just enjoyed being different . PSF: When it came time to make Fearless , I noticed that John Wetton, and I think Poli Palmer handled some of the lead vocals. I mean, how did you feel about turning the mic over to them? RC: Oh, I had no problem. But, but to be honest, they did very little vocals. Poli did "Larf and Sing," because that was his track, he'd kind of set out anyway. He'd recorded it at home in his home studio and really brought it to us. And he'd done the kind of the barbershop quartet sort of harmonies and things. And John Wetton and I, we copied what Poli had already done. what Polly had already done. Then Poli put his lead vocal on that. John really took a very small part on the lead vocals... I think he only sang a verse here and there. He obviously helped very much on the orchestral side of it, in the sense of harmony vocals, backup vocals. Him and I did some work on that. Well, all the work really on the album, you know, for backup vocals. So, I mean, obviously he was a big asset, you know just through his playing and ideas, you know, to incorporate into what the band was doing anyway. I mean, on Fearless , we'd already started the album without a bass player, and we got most of the tracks down. And then when John joined the band, he came in the studio and put his versions of playing a bass on it, you know, on the tracks. Which was obviously very good. And improved the tracks and made us a better band. So there's nothing wrong with that. PSF: One thing I noticed is some songs like "Spanish Tide" remind me of some of the other progressive rock bands of 1971. Were you familiar with some of those bands? Like, say, Yes or King Crimson? RC: I was very aware of King Crimson. Fantastic band...They lived on the coast when they first came into London. They were fantastic when they first came up and stayed fantastic, actually. Yes, I was never a keen fan of at all, really. It was all a bit kind of, dare I say, namby pamby . Some great musicians in it, but sort of, I don't know, a bit wishy-washy. That wasn't my kind of music at all. But King Crimson, very aware of King Crimson. And so was John obviously, because John joined King Crimson from us. PSF: Did you stay in touch with him after he joined Crimson or in his subsequent career? RC: All the time. Yeah. I mean, John and I were very close friends, and right through. I'd made a solo album called Kiss My Soul . Mm-Hmm. And, I was over in the States with my wife and we were there, and I met John 'cause John was living in the States. And we wrote songs together, songs I wrote with John on that particular album, Kiss My Soul . Yes. I mean, we were big friends for a long, long time, unfortunately, until he death. Family at the 1971 Bilzen Fest PSF: One thing I noticed, you started branching out doing more harmony vocals, and I don't think you did a whole lot of that with Family's earlier material. RC: No. That kind of wasn't the sort of musical direction we were in, you know. It was very much a kind of jazz, blues, R&B situation. And if anybody was doing backup, there was a guy called Jim King [who appeared on Family's first two albums], who played saxophone and harmonica. And actually also had a fantastic voice, but there was only falsetto on those early Family albums. Then Jim King would've been doing that. PSF: One of my favorite songs on Fearless is "Between Blue and Me." Can you give me some background on that song? RC: Well, it's, it was a song really originated by the guitar player who actually John Whitney and myself- he wrote quite a lot of the song for Family. It was his original concept, and he brought it into the studio. I mean, lyrically I didn't actually add too much towards it lyrically either. So I think it was probably almost a little of John's background. I think we used to write basically about ourselves or our, or our backgrounds, you know, hidden depths and things like that. PSF: I noticed that you also started using more horn sections on the album. Can you give me some background on that? RC: That again came from John Wetton, and actually the horn section from that was the Average White Band before they became the Average White Band. John was sharing a flat with Molly [Malcolm "Molly" Duncan], the sax player from the Average Whites. And so we got to meet him just because we became friendly, you know, going out drinking or dinner, whatever, just gigging and things. So that's the brass section really, from them. But that came from John. Again, John was friends with them. And, so all led just very naturally into using them because they'd become friends of ours. PSF: And I also realized Poli Palmer contributed so much in terms of switching off from different instruments. RC: Well, Poli's very much a synth guy. I think he started off as a drummer. And then that was that kind of not enough for him. He was obviously a bit more, I was gonna say a bit more musical . Don't tell a drummer I said that! I'd say that he played vibes, vibraphone, you know, 'cause then he was basically playing a rhythmic thing, but, but with melodies involved. And then I think he took up the flute as again, just another musical instrument. But he got heavily involved in the synths where he was actually playing his electric vibes through a synth machine on stage. So yes, Poli's always been a very much an electro-minded person. My last new album [ Life in the Pond ], actually, Poli and I produced that and wrote it together, just the two of us, in his home studio. PSF: I'm curious what it was like to be working with him again on your album after so long together. RC: We've always done things together... I mean, obviously, I've had a solo career for thirty-odd years. And Poli's always been involved in what I did. And when Family split, John Whitney--Charlie--and myself, we started another band called Streetwalkers. I mean, Poli was even involved in that, getting in the studio and did some stuff, you know, synth-type stuff. And so, when I started my solo career, which was about '79, I think, he was involved in that as well. We were writing songs even then for my first two or three albums, you know, and right through my career, we've always been pals, you know, we've always been good friends. PSF: But I think what I like about the album is it goes from a song like "Larf and Sing" to "Sat'day Barfly" to "Take Your Partners" to "Children," which is an acoustic song. RC: Well, we were like that. Just very varied in taste... I mean, obviously the five of us, we all had different tastes in music, but also there was a combination where certain types of music, everybody liked. And we were open, I suppose, very open to letting people in the band have their say, you know, in a musical sense. If somebody thought that the song was rubbish, you know, I suppose it wouldn't have happened, but everybody liked, seemed to like, what you've heard on the album. Family-Fearless-lineup Family at the time of Fearless

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• October 17, 1981 Setlist

Roger Chapman Setlist at Grugahalle, Essen, Germany

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• Who Pulled the Night Down Play Video
• Keep Forgettin' Play Video
• Unknown Soldier (Can't Get to Heaven) Play Video
• Ducking Down Play Video
• I Just Want to Make Love to You ( Willie Dixon  cover) Play Video
• Killing Time Play Video
• He Was, She Was Play Video
• How Can We Hang on to a Dream? ( Tim Hardin  cover) Play Video
• Prisoner ( Roger Chapman and the Shortlist  song) Play Video
• Short List ( Mickey Jupp  cover) Play Video
• Hyenas Only Laugh for Fun ( Roger Chapman and the Shortlist  song) Play Video
• Comman Touch Play Video
• Making the Same Mistake Play Video
• Midnite Child Play Video
• Stone Free ( The Jimi Hendrix Experience  cover) Play Video
• Goodbye Reprise Play Video
• Blood and Sand Play Video
• Let's Spend the Night Together ( The Rolling Stones  cover) Play Video
• J & D Play Video
• Can't Get In ( Roger Chapman and the Shortlist  song) Play Video
• Hey! Bo Diddley ( Bo Diddley  cover) Play Video
• Sgt. Pepper's Lonely Hearts Club Band ( The Beatles  cover) Play Video
• Help Me ( Sonny Boy Williamson  cover) Play Video

Edits and Comments

21 activities (last edit by [deleted user] , 30 May 2021, 00:56 Etc/UTC )

Songs on Albums

• Prisoner by Roger Chapman and the Shortlist (2)
• Can't Get In by Roger Chapman and the Shortlist
• Help Me by Sonny Boy Williamson
• Hey! Bo Diddley by Bo Diddley
• How Can We Hang on to a Dream? by Tim Hardin
• Hyenas Only Laugh for Fun by Roger Chapman and the Shortlist
• I Just Want to Make Love to You by Willie Dixon
• Let's Spend the Night Together by The Rolling Stones
• Sgt. Pepper's Lonely Hearts Club Band by The Beatles
• Short List by Mickey Jupp
• Stone Free by The Jimi Hendrix Experience
• Ducking Down
• He Was, She Was
• Making the Same Mistake
• Unknown Soldier (Can't Get to Heaven)
• Keep Forgettin'
• Midnite Child
• Who Pulled the Night Down
• Blood and Sand
• Killing Time
• Comman Touch
• Goodbye Reprise

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Roger Chapman

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9. Rockpalast Nacht setlists

Roger Chapman Gig Timeline

• Jan 27 1981 Rheinterrassen Bonn, Germany Add time Add time
• Feb 01 1981 Stadthalle Erlangen, Germany Add time Add time
• Oct 17 1981 9. Rockpalast Nacht This Setlist Essen, Germany Add time Add time
• Nov 10 1981 Stadthalle Offenbach am Main, Germany Add time Add time
• Oct 10 1982 Stadthalle Fürth, Germany Add time Add time

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1 hr 57 min

442 - The Pisces Submersible Rescue Do Go On

This week we talk about Roger Mallinson and Roger Chapman who in 1973 found themselves at the heart of the deepest submarine rescue mission in history. This is a comedy/history podcast, the report begins at approximately 07:29 (though as always, we go off on tangents throughout the report). Support the show and get rewards like bonus episodes: patreon.com/DoGoOnPod Support the show on Apple podcasts and get bonus episodes in the app: http://apple.co/dogoon  Live show tickets: https://dogoonpod.com/live-shows/  Watch Do Go On The Quiz Show: https://youtu.be/GgzcPMx1EdM?si=ir7iubozIzlzvWfK Submit a topic idea directly to the hat: dogoonpod.com/suggest-a-topic/ Check out our merch: https://do-go-on-podcast.creator-spring.com/     Check out our other podcasts: Book Cheat: https://play.acast.com/s/book-cheat Prime Mates: https://play.acast.com/s/prime-mates/ Listen Now: https://play.acast.com/s/listen-now/ Who Knew It with Matt Stewart: https://play.acast.com/s/who-knew-it-with-matt-stewart/   Our awesome theme song by Evan Munro-Smith and logo by Peader Thomas Do Go On acknowledges the traditional owners of the land we record on, the Wurundjeri people, in the Kulin nation. We pay our respects to elders, past and present.   REFERENCES AND FURTHER READING: https://www.bbc.com/news/magazine-23862359 https://www.washingtonpost.com/history/2023/06/22/pisces-iii-submersible-rescue-titanic/ https://en.wikipedia.org/wiki/Rescue_of_Roger_Mallinson_and_Roger_Chapman https://www.britannica.com/technology/submarine-naval-vessel https://precollege.oregonstate.edu/sites/precollege.oregonstate.edu/files/cartesian_diver_lacuknos_10-15-20_-dc.pdf Hosted on Acast. See acast.com/privacy for more information.

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