17th August 2018

ネッド・ドヒニー / Ned Doheny(Vocals, Guitar)
ヘイミッシュ・スチュアート / Hamish Stuart(Guitar)
ジム・ワトソン / Jim Watson(Keyboards)
ロス・スタンレー / Ross Stanley(Keyboards)
ニック・コーヘン / Nick Cohen(Bass)
ジェレミー・ステイシー / Jeremy Stacey(Drums)


Ned Doheny & Hamish Stuart


Q: How are you Hamish?


HS: Pretty good considering the trip I had yesterday. (smiles)


Q: Please tell.


HS: I came from Edinburgh because I had a show there on the 14th and I was flying KLM to Amsterdam to get a direct flight to Tokyo. So we got about 20 minutes away from Schiphol and the pilot comes on and says the traffic control system is down at Schiphol, nothing is landing or taking off so we’re going to circle for a while and see what happens. Another twenty minutes later, he comes back on and says that we’ve been diverted to Birmingham and the people I had been playing with the night before we’re driving down the M6 past Birmingham airport so they were probably passing me as we were sitting on the tarmac refueling there. (laughs) We took off again and we finally got there half an hour after my direct flight had gone so I had to go to Hong Kong and then to here – a thirty-two hour journey all told. I arrived at the hotel just as all the guys were coming back from dinner so we sat and had a couple of beers and I went to bed waking up to the sunshine so I’m fine.


Q: That’s good.


Q: So what’s the history between Ned and yourself apart from AWB covering one of his songs and how did this little series of gigs come together?


HS: I met Ned at the tail-end of ’74 in Los Angeles when Robbie (McIntosh – AWB drummer) had died. My girlfriend at the time knew Ned and he had been at one of the Troubadour gigs which was our big L.A. breakthrough. That was a hot ticket…Jack Nicholson, Cher, Martha Reeves…Elton…we had a mad week and I met Ned shortly after that and we hit it off right away. His sense of humour and he’s really articulate and we started hanging out together. As time went by the AWB ended up in L.A. a lot, maybe after a stretch of gigs or recording and whenever everyone else left town, I’d stay on for a week and just hang with Ned. I’d stay at his house, we’d go out, eat dinner, have a drink, chase women and we’d end up at the end of the night sitting around Ned’s kitchen table with a couple of guitars and a beer. I’d start to play something, Ned would play something else and half an hour later we had A Love Of Your Own which we did on Soul Searching. It just kind of went on from there. It took us five years to write another one though (smiles) – the hit for Chaka (Khan; What Cha’ Gonna Do For Me) and then we wrote a couple more off the back of that, George Benson covered one (Never Too Far To Fall) and then we did one on the last AWB album (Isn’t It Strange).


Q: It’s a hell of a band; did you put it together?


HS: Yes. The quality of players that is around now is quite stunning. Nick as played with me quite often as Jeremy has. There’s three or four drummers and bass players and if someone is busy or away, someone else can step in. Steve Pearce was supposed to be here – a guy who plays with me all the time – and he managed to break his hand about a week before these shows so it was 1) can we get somebody else and 2) can we get a visa in time but luckily Nick was available. Jeremy was booked a while back as my regular drummer Ian Thomas couldn’t do it and there was just enough of a window as he’s in the middle of King Crimson right now. They’re all fantastic though and I’m lucky to have them.




Q: Jim (Watson) and Ross (Stanley) of course played on 360band album with you. A great record…


HM: Thank you.


Q: …there will be more won’t there?


HM: Yeah.


Q: And gigs in Japan?


HM: That’s what I have to talk to certain people about. (smiles) It’d be great to do it here and I know it would fly here. It’s a harder sell in America. I mentioned it to an agent and he said could he use the AWB name and I said no because of course the AWB are using it but we can do enough PR and stuff to let people know. I think you have to be creative to use the legacy or the history.


Q: Well it’s yourself Molly and Steve Ferrone – the happiest drummer in the world – so people will want to come.


HS: (laughs). Yeah and Steve plays so great. I played with him about three weeks ago. It was Tony O’Malley’s from Kokomo 70th birthday and his wife asked me to come and play so I got the guys together and as luck would have it Steve had come into town to do something with Trevor Horn. He arrived on the Sunday afternoon, came down and played the whole second set. It’s just…you know, immediately, we were right there again, exactly where we were however long ago it was. It was the same when we made the record. We cut the first basic track, went into the control room, sat down on the couch and turned to each other and said this is great. Just like the old days, everything locked in like it was yesterday.


Q: You did the album old school: band together onto tape.


HS: Yeah! You can’t beat it! For spontaneity it’s the best way and you get the best out of all the music.  The players have their conversations with each other with Jim and Ross as well there are lots of organ and piano things happening.


Q: Many takes?

HS: No. If you don’t have it by the third take, move along. We learned the hard way years ago doing thirty-two takes of something all night and then getting it on the run the next day.


Q: You did, Just For A Thrill, on that record did you try any other covers?


HS: There’s a song called Some Other Time written by Adolph Green, Betty Comden and  Leonard Bernstein for the show On The Town but it got dumped. I heard a version by Bill Evans and Tony Bennett from 1975 and I just loved the song. I messed around with it and tried to hear what Bill Evans was playing, grab some of it and steal a groove from Donny Hathaway to make it more something that the band could play.


Remembering Aretha and Atlantic


Q: Aretha Franklin also did Just For A Thrill and we rather sadly lost her today. AWB and Aretha were 1970s Atlantic artists; did you ever meet her?


HS: Oh yeah…a few times. (Hamish now has a look of awe and admiration in his eyes as he remembers her) When we signed with Atlantic, they flew us too Miami and Arif (Mardin), Tommy Dowd and (Jerry) Wexler were recording Aretha in Criteria Studios with (Bernard) Purdie, Chuck Rainy, Cornell Dupree, Richard Tee and Hughie McCracken.  We turn up and they are in mid-take, full flow and right after that we met everybody and then Aretha did a vocal for  a song called Springtime In New York. You know, we had just come from nowhere and suddenly we were privy to all this…wonderful. Our jaws were on the floor; we’re here, in the thick of it now. There were a few more occasions as time went by. I wound up singing with Aretha…I’m just glad to have been in that orbit and blessed to get the chance and be that close.


Q: Over the years you’ve turned up on a few albums. 1978 you’re on Carly Simon’s Boys In The Trees album and credited with the Obligatto vocal.


HS: Yeah! (laughs) Arif must have written that sleeve note I think. (laughs) It was really an amazing time. We’d go into Atlantic and pop into the studio to see people. The studio staff were all great and there was a really amazing…thing there – a camaraderie. If I knew Wexler was recording Aretha, I’d get in there and catch a take or two. Arif was producing Carly and it was, you know, come and sing on this. He did something with Bette (Midler) as well and I’m on that as well. Chaka’s first three records Steve and I are both on.


Q: Cher as well.


HS: Yeah you know, Arif would just say ‘Come and do this’. It was like being in a little club of some kind. Wonderful and I treasure all that stuff.


Q: I’m not surprised. You have your autobiography coming out soon I presume.


HS: (laughs) There are two or three people who have been banging on at me to do it and I’ve scribbled a few things down and as I was sitting on the tarmac yesterday I started writing about that. It’s a kind of a funny way to start a book after fifty years; the frayed edge on life’s rich tapestry.


Q: That’d be a good title.


HS: (laughs). Yeah you occasionally run into, in amongst all these glorious, wonderful things that you managed to get roped into, the downside which is 32 hours of travel.



I often feel Glasgow is underrated in the history of popular music…


HS: Yeah absolutely!


Q: …a lot of lasting musicians have come out of that city and that era. Yourself, Lulu, Alex Harvey, Ted McKenna, The Marmalade, Andy White who played on Love Me Do, Donovan, Angus Young, a remarkable almost endless list…what is it about that city that has generated such a remarkable, eclectic bunch of musicians?


HS: I honestly don’t know. The journalist Bud Scoppa gave the AWB a glorious review on the first album for Atlantic and about twenty years ago and The Blue Nile were playing their first big show in L.A. It was packed with celebrities and I was going backstage afterwards and Bud was coming by and he said exactly the same question: ‘How come Glasgow?’


Q: People always mention London, Liverpool and the next one is always Tottenham for some reason…


HS: (laughs) Yeah. It’s a funny old town


Q: It was a hard town when you were growing up.


HS: Oh shit yeah but being in a band kind of put you to the side a little bit. The bands were all loved by all the gangs so you were kind of safe  - or safer - if you were in a band (laughs). It was wild though; there was some really crazy stuff going on back then in the 60s and 70s in Glasgow but there was also lots of great stuff happening in music and clothes and stuff. John Stephen the guy who started Carnaby Street is another Glaswegian. There was always a lot of style and I think because Glasgow is not the capital and had the bad reputation with the gangs in the 40s, it’s always been downed until maybe the last twenty years when it’s been re-evaluated and it’s not really different from anywhere else; it’s maybe more than that than ‘We’re so great!’ (laughs)


Q: Whilst we’re on Scotland, I have a message for an old friend for you; he says ‘Do you remember the La Bamba in Falkirk and the Dobbie Hall in Stenhousemuir…the Dream Police days?


HS: Yeah who’s that from?


Q: Johnnie Allen.*


HS: Ha hah! Johnnie Allen! Holy shit! I saw him last November. Myself and Molly Duncan from the Average White Band had 500 copies of a four album vinyl AWB collection to sign at Ronnie Scot’s before a gig and Johnnie came in as he works just around the corner. He’s an amazing character and a survivor…what he’s been through…he just seems to turn up in odd places.


Q: I have to ask; Celtic or Rangers?


HM: Rangers.


At this point, we slip into a lot of football talk. Eventually I pull it back to music.

A word about Paul and Ringo


Q: You played with Paul for five years and in Ringo’s All-Starr Band 2006 and 2008; got a good after dinner story?


HS: Loads! I met Ringo in probably ’75 at a party in Hollywood and then a year later Arif is producing him and I’m doing backing vocals with Luther Vandross on the album. Stuff like that and parties at Arif’s as well but when I first got the call from Paul, I went to get the flight from L.A. to London to meet with him and to play Ringo and Barbara were in the departure lounge. I hadn’t seen him since ’77 or something like that and this was ’87 so I went over and said hello and said I was just going over to work with Paul and he said ‘I hope he’s flying you first class.’ (laughs) I love Ringo, he’s great and the shows are really fun – we’re going to do them again in Feb/Mar so I’m looking forward to that. The hard part is the rehearsal where we really work hard to get everyone’s tunes right. We don’t take a break, work through the weekends and then the gigs are like a paid holiday. Colin Hay is on it as well, Greg Bissonette and Steve Lukather so it’ll be really  fun.


Q: Thank you Mr Stuart, a real pleasure.


HS: Thank you.



*Johnnie Allen is a mutual friend of Hamish and myself. I started working with Johnnie on tours back in the 1980s but Hamish and he go right back to the 1960s. Johnnie currently works for Sanctuary music, Iron Maiden’s company.

ヘイミッシュ・スチュワート インタビュー



ネッド・ドヒニー / Ned Doheny(Vocals, Guitar)
ヘイミッシュ・スチュアート / Hamish Stuart(Guitar)
ジム・ワトソン / Jim Watson(Keyboards)
ロス・スタンレー / Ross Stanley(Keyboards)
ニック・コーヘン / Nick Cohen(Bass)
ジェレミー・ステイシー / Jeremy Stacey(Drums)











HS:74年の暮れにロサンゼルスでネッドに会ったんだ。ロビー(・マッキントッシュ、AWBのドラマー)が亡くなったタイミングでね。当時、僕の彼女がネッドと知り合いで、ネッドは僕たちがLAで成功したトルバドールでギグを行なったんだ。来た客が凄かったよ。ジャック・ニコルソン、シェール、マーサ・リーヴス、エルトンとかだ。信じられない1週間だったよ。ギグの後にネッドと会って、一緒にやろうってことになったんだ。彼はユーモアも抜群で、僕たちはすぐに馬が合った。AWBはLAでライブもレコーディングも一切合財が終わってしまったから、メンバーはみんなLAを離れてしまっていた。1週間滞在して、会ったのはネッドだけだった。彼の家に泊めてもらいながら、一緒に出掛けて飲み歩いて、女の子をナンパしたりして過ごした。最後に気づいたら、ネッドの家の台所でギターとビール缶に埋もれて寝ていたよ。僕もネッドもそれぞれギターを弾いてみて、1時間半後にはソウル・サーチングから「A Love Of Your Own」を見つけたんだ。LAで書かれた曲の一つさ。自分たちで曲を書くのには、そこから5年もかかったよ(微笑)。チャカ(・カーン)でヒットしたやつだ(「What Cha’ Gonna Do For Me」)。それからいくつか書いた。ジョージ・ベンソンがカバーしたの(「Never Too Far To Fall」)とか、AWBの最後のアルバムに入った曲とか(「Isn’t It Strange」)ね。

























Q:「Just For A Thrill」が有名ですが、他にもカバーしようとした曲はありましたか?

HS:アドルフ・グリーン、ベティ・カムデン、レナード・バーンスタインが「オン・ザ・タウン」というショーのために書いた「Some Other Time」という曲があったね。1975年にビル・エヴァンスとトニー・ベネットのバージョンを聴いたんだ。それに惚れ込んでね。そこでそのバージョンを探し回って手に入れた。ダニー・ハサウェイのあのグルーヴを盗んで、バンドでやってみたんだ。




Q:アレサが「Just For A Thrill」をやってましたが、今日、彼女が亡くなったんです。AWBとアレサは1970年代には同じアトランティック・レコード所属でした。彼女に会ったことはありましたか?

HS:ああ、何度かね(ここでヘイミッシュは驚きの表情を見せ、彼女に思いを馳せるような遠い目をした)。僕たちがアトランティックと契約した時、マイアミに連れて行かれたんだ。そこにはアリフ(・マーディン)、トム・ダウド、(ジェリー・)ウィクスラーらがいて、クライテリア・スタジオでアレサのレコーディングをしていた。(バーナード・)パーディ、チャック・レイニー、コーネル・デュプリー、リチャード・ティー、ヒュー・マクラッケンといったミュージシャンを使ってね。僕たちが着いた時、彼らは佳境に入ったところでね、アレサは「Springtime In New York」という曲のボーカル入れをしていた。田舎から出てきて、いきなりこんな凄い場面を目撃したんだよ。凄いったらなかったね。僕たち全員、もう口が開きっぱなしだったよ。あんな場面に居合わせたらね。それからもそんな機会があったよ。アレサと一緒に歌ったこともあった。そんな瞬間に感謝したよ。


Q:何年にも亘ってあなたはいろいろなアルバムに貢献されてきました。1978年にはカーリー・サイモンの『Boys In The Trees 』に参加されていました。オブリガート・ボーカルとクレジットされていましたが。

















Q:今も活躍しているミュージシャンの多くがあの時代、あの町から出てきたんです。あなた、ルル、アレックス・ハーヴェイ、テッド・マッケンナ、マーマレード、「Love Me Do」に参加したアンディ・ホワイト、ドノヴァン、アンガス・ヤング、枚挙に暇がありません。どうしてあの町はあれほどさまざまなミュージシャンを生み出したのでしょうね?