This article, written and compiled by John Reed, was partially printed in the November 2009 issue of Record Collector Magazine.
This is the full text of the article:
STATUS QUO - FAN CLUB FORUM
FOLLOWERS OF THE MIGHTY QUO HAVE THEIR CHANCE TO QUIZ MAINSTAYS FRANCIS ROSSI AND RICK PARFITT.
YOUR HOST: JOHN REED
Francis Rossi scowls: "Is it illegal to smoke in this country? I just wondered why we've got that sign on the fucking wall, know what I mean?" It's my introduction to the Status Quo frontman in the boardroom of a non-descript hotel outside Exeter on a dreary afternoon prior to his band playing in the rain in the decidedly upper-crust surroundings of Powderham Castle.
For the next hour-and-a-half, first with the extrovert, very talkative Rossi and then his more introspective but equally forthcoming partner, Rick Parfitt, we talk Quo. The pair have nothing directly to promote (although a new DVD, Live In Montreux, beckons in October). Instead, one of the longest married couples in rock answer questions proffered by their fans via the official Quo website (www.statusquo.co.uk), from enquiries about their exploits back in the 1960s to classic albums and favoured hot beverages.
Perceptions of Status Quo among their fanbase can be divisive. The old guard have never quite forgiven them for splitting the memorable "Frantic Four" line-up with drummer John Coghlan and bassist Alan "Nuff" Lancaster. Coghlan departed in 1981, and after Quo took a recess in the mid-80s, Lancaster wasn't asked to re-join the band. While the majority of the Quo's followers have accepted "new" members Andrew Bown (the ex-Herd keyboardist first recruited by Quo as early as 1973), bassist John "Rhino" Edwards and drummers Jeff Rich and, since 2000, Matt Letley, resentment still festers within Quo forums to this day.
From their responses, it's obvious that both Rossi and Parfitt wrestle with the conflicting demands of their loyal fans - that old adage that you can't please all the people all the time.
Truth is, for all their good-humoured nonchalance - someone once described them as the Chas and Dave of rock - they both care passionately not only about Quo's past achievements but more specifically about Quo's current form. Few bands can boast such a distinctive sound, rooted as it is in twelve-bar boogie blues. Cynics have lampooned them as uninspired, a self-parody even, but few acts can boast such an impressive string of classics, which began in earnest with 1973's Paper Plane through Top 10 hits like Caroline (still their set opener), the chart-topper Down Down, their reworking of John Fogerty's Rockin' All Over the World, Again and Again" and, wrapping up the Seventies, Whatever You Want.
Thereafter, like that of fellow British rock institution Queen, Quo's sound softened and diversified. Eighties smashes Marguerita Time, In the Army Now and Burning Bridges suggested they had mellowed. Coupled with a succession of albums of cover versions which, by the band's own admission, were recorded against their better judgement, Quo's integrity was badly damaged. Since the early 90s, however, Rossi and Parfitt have driven Quo to new heights as a live act. Instead of chasing the pop charts, Quo concentrated on their stage craft and new albums - as and when they arrive - have been a case of "business as usual and the business is good".
As lengthy and detailed as our conversations are, it's impossible to fully embrace such an immense career, spanning four distinct eras: the 60s' pre-denim mod/psychedelic years; the classic "heads down" era which yielded such a dominant charge of albums (from 1972's Piledriver and its defining successor, Hello, through to 1981's Never Too Late, their last with Coghlan); the sometimes uncomfortable mix of pop and parody that was their 1980s and 1990s output (excepting such highlights as 1991's Rock 'Til You Drop); and their slow-but-steady return since 1999's Under The Influence.
In terms of raw statistics, Status Quo are nothing short of a phenomenon. Four number ones and 17 top 10 UK albums (20 if we add compilations). 118 million records sold worldwide (beat that, Oasis). And they've scored more than 60 British hit singles - more than any rock band in history. When Glastonbury Festival announced a stellar, multi-faceted line-up for 2009, including the likes of Bruce Springsteen, it was Quo who attracted the headlines.
So messrs Rossi and Parfitt have reason to walk the rock star walk - and yet both men convey a sense of modesty, good fortune and self-effacement. Both are understandably conscious of the passing of time (Francis recently turned 60; Rick is coming up for 61) and yet they are totally committed and enthusiastic about the Status Quo idea. It's clear that, of the pair, Francis is the driving force but this is no corporate rock superstar, even if he does threaten to sound like Jeremy Clarkson when it comes to the anti-smoking lobby. "They're everywhere, all over the hotel… I should have got into signs!" Read on!
With thanks to: John Keeling, Chris Hewlett, Pete Manning and Jason Hodgson, plus all the fans who sent in questions.
Can you remember your very first record?
RP: Yes, Early To Bed by the Poni-Tails, a girl group from America and, obviously, they all had ponytails! But they were lovely, just a sparkling little record and the first I ever bought.
What's the most unusual instrument you've ever played?
FR: At school, I played the trumpet or I preferred the cornet, which was smaller, or the euphonium. All that oompah stuff. Andrew (Bown) has this thing on the bus we call Frankenstein, which looks like a couple of conjoined twins which shouldn't be! He found it in Norway. It's basically an acoustic guitar with this little baby brother, a mandolin, on the side. It's ugly and evil-looking but Andrew would go for that.
What's your favourite Quo album - and why?
RP: Hello!, probably. I like "4500 Times" especially. I remember sitting around in a circle and "getting off" on one other, feeling one another's vibe in tight proximity in the studio and not worrying about the overspill from the amps. Just turning it up. It was fantastic.
FR: Hello! has really good songs but people remember stuff from a time they're nostalgic about. I like Rock 'Til You Drop just as much. And In Search Of The Fourth Chord and Under The Influence were good albums.
How do you now feel about Quo's various covers albums?
FR: (snorts) I thought Don't Stop was very good though there was some material which shouldn't have been on there. But the subsequent covers albums were a pile of shit, a complete waste of time!
RP: I didn't enjoy doing them, I never listen to them and I didn't want to do them in the first place.
Why did you record them?!
FR: Someone had a hold of my testicles! And you'll have seen that in movies: if someone's squeezing your balls, then you do what they say. And they had us by the curlies!
RP: We were coerced into doing those albums by our management. It was wrong to have us do it but the record company gave us no choice. It was a bad time.
Francis, have you ever played drums on any Quo albums?
FR: On Wild Side Of Life, for some reason, Rick messed about because it was done in bits. I did a lot of drum stuff for Spud but I don't think I ever played a full drum track on an album.
Would it be true to say that recent live albums have benefited from overdubbing in the studio? If so, what was the last truly live Quo album?
RP: The last truly live album was Quo Live at the Apollo, because you usually go back in and put a bit of Daz on this, a bit of Persil on that, a bit of fairydust here and there. You've got all the tricks of the studio at your disposal. We never over-do it, though. We track the guitars up, usually, perhaps with two different sounds, to make them a bit fatter - like they are on stage. Because on stage, we're using a mix of a Vox AC30 and a Marshall 800 Head. And the cream of those amps is a beautiful sound. It really rocks. And you try and get that in the studio, you know?
Were you a mod back in the 60s?
RP: I attempted to be, yeah. I was much more a mod than a rocker. I had a Lambretta Li 150 and a bottle green parka with a squirrel on the back. I actually came off this scooter in front of a bus queue in Woking. It was a wet evening and I was 16. It was very embarrassing. I was alright but I ripped my parka. I had a nice herring-bone suit and that got ruined as well. And I never got back on a scooter or motorbike. That's when my thoughts turned to cars - to a Reliant Robin because you could drive one without a reverse gear when you were 16!
FR: I was pretty much a mod - I wanted to be a mod, put it that way! Alan Lancaster and me were at school. We'd not long started the band before we knew Rick. We bought these blue button-down collar shirts and the tie with the Windsor knot. We're walking around Peckham with our shirts, and some bloke shouted out what I thought was "rocker". I said, wait a minute, I thought mods wore these? He said, nah, rozzer - you look like coppers! My Hush Puppies were spesh. Mod seemed to lead into the fashion thing of '68 with the military wear - Carnaby Cavern, Kensington Market. It drifted into the hippie clothing. It wasn't the rockers because they're still wearing the same shit now.
Why did Thirsty Work (1994) sound so different from its predecessor, Rock 'Til You Drop (1991)?
FR: The material on Rock 'Til You Drop lent itself to sounding more guitary and it was recorded in a live situation which Thirsty Work wasn't. That was done by laying down lots of tracks and then putting everybody on. People argue whether we've changed, whether we should change or continue doing the same old thing! I thought we were the only band that was concerned about that until I looked at the Stones' career and they get frightened every now and again and follow the trend. I think that's what we were doing and it's usually a mistake. I thought Rock 'Til You Drop was a great balance between all we want from the early days and who we are now. We were trying to appease everybody and you can't.
Is it fair to say that the band were "distracted" during the recording of Perfect Remedy?
RP: We went out to Nassau to do Perfect Remedy. There was a lot of drugs, an awful lot of booze - this drink called plastic, the strongest thing I've ever known. We'd have a bit of plastic and a bit of coke and we - or I did, certainly - took our eye off the ball. The album was drifting past and I'd occasionally go in the studio here and there between laying in the sun and being hungover (sighs). I just lost sight of it. (Producer) Pip Williams was hell bent then on making it a keyboard-orientated album. I also think that's where it went wrong.
Are they any Quo demos sitting around in attics?
RP: There are lots of reels of tape lying around from the early days. No home demos except one song I've got somewhere on cassette which I was writing with Phil Lynott just before he died, called My Father's Son. Then he popped his clogs, bless his heart. That's half finished.
FR: My eldest son sent me this track Rearrange [belatedly issued in 2001 on the box set Rockers Rollin']. It was on a demo session I did with Bernard Frost in Ireland. My son loved it because he was there when it was recorded. He said, "Dad, that's got eight chords." Yeah? "People don't know." And? "Someone should tell 'em!" I said, why? What, you mean they're gonna say, that Francis Rossi's great, he's done a song with eight chords, he is fine after all! He said, "No, you got a point."
Do you recall your very first recordings as The Spectres way back in 1964?
FR: Yes, we were doing mine and Alan Lancaster's songs, a version of Hurdy Gurdy Man, a song of mine called Love in Vain [belatedly issued on an obscure compilation LP, Riot Of The Amphetamine Generation along with another Spectres demo, 'Say That You Need Me'] and a song of Alan's called Laticia. Those names seemed so exotic and sophisticated! Coming from South London, you weren't going to get Laticia! We recorded somewhere in Putney, the first-ever studio we used. You had to save up money and then, when you got in the studio, you'd do what the fuck they told you! (whispers) 'Wow! We're in a recording studio!' Now, they can record or photograph themselves, then change the photos or settings. I think that's why a lot of us earlier bands have that tenacity. We've had to play in situations like, for argument's sake, tonight (an outdoor concert in torrential rain at Powderham Castle, near Exeter).
What memories do you have of John Schroeder, your producer at Pye Records in the 60s?
FR: I love John, I miss him and enjoyed working with him. He was very effeminate and I like effeminate people. It was him and Ronnie Scott. Ronnie Scott (the publisher who wrote Ice In The Sun with Marty Wilde) spotted us and suggested us to John. I remember John saying to our manager, this band are (gestures small amount) that far from greatness. I think he meant success - there's a difference! I liked John but we obviously needed to move on.
You stayed with Pye Records from 1965 to 1971. What was the company like?
FR: Pye was such a dodgy label to be with. They had Donovan, Petula Clark, the Kinks, all on really small deals, half a per cent of retail. It was killing you! Somebody was making shitloads of money.
During the course of the 60s, you evolved from a beat band through R&B, soul and psychedelic pop. How did that happen?
FR: Before Rick had joined, we were a rock band in the 60s in Minehead. We would do Rock Around the Clock, Everly Brothers, a bit of Presley. And being down in Minehead, you were cut off from London. It wasn't like today. When we got back to London, it had completely changed. Everybody was (doing) Ride Your Pony: what the fuck are they doing?! The soul band thing, Midnight Hour and all that. So we had to do some of that material to get arrested. Also, we were Guy Darrell's backing band and Tommy Quickly's for a while but the one we really loved was Madeline Bell, who was lovely to work for. She came in and said, what songs do you do, and said, oh, I'll do some of them then, fine.
Your first hit, Pictures Of Matchstick Men, was memorable for its use of the pioneering technique of phasing...
FR: Alan Florence (who subsequently went to work for ITN) was an old school engineer: you'd come back in the control room and he's sitting at the desk reading the paper! They were lab technicians, really. We'd done the recording and this huge great machine came in. You had two machines running with two copies of Matchstick Men in its final state being recorded on another two-track and they'd drop the voltage. And as they come in and out of phase, there's that beautiful sound which does something to the ears. We were like, wow, this is great with the Quatermass dial in the middle of the room - wonderful!
How did you get labelled psychedelic?
FR: I was trying to copy Hey Joe so I don't know what they were talking about with the psychedelic thing. After Matchstick Men, we had a soul set and a psychedelic single. Eventually, it was going back to somewhere a more basic, instead of that (gestures psychedelic guitar style) "ching, ching, ching, ching-a-ching-a-ching", which was hip then and became hip again when Oasis started doing it and everyone said it was innovative and new! As soon as we'd done Matchstick Men and it was a pass, we did an album full of that stuff and John [Schroeder] said, we have to put brass and stringy stuff on it. I listen to it now and think it's all right but, at the time, we were like, oh no, it's not working. But I liked the idea of that album being called Spare Parts: we were still trying to find our way. Show business had got in - this is great! We had got to where we wanted to be - successful - before realising, uh oh, it's slippery up here, you hang on.
Your first record to feature Quo's trademark boogie shuffle, Down The Dustpipe, was originally demoed by the Welsh band Man back in 1969, who based their style on Dave Edmunds. Do you remember that?
RP: No! As far as I knew, an Australian guy wrote Down The Dustpipe [Carl Groszmann]. somebody at our music publishers [Valley Music] recommended we do this. So we did - and I always remember the record cover was a cloud with a fart on it! Why I do not know! [This was the ultra-rare Portuguese edition.]
The Quo's transition from 60s psychedelic pop to 70s blues rock: a subliminal progression or a conscious decision?
FR: It wasn't until we'd become unfashionable. It started when all those people went away because here's another band not being so successful, they're dying, leaving us just playing gigs and wearing our jeans. Hang on a minute, something's happening here.
How did you develop your trademark "heads down" stage moves?
FR: Rick has a different view of how that came about. We were playing these venues, people were sat on the floor and they did not want to see us. It was like, fucking hell, you lot! They'd be turning around, smoking a joint, looking at the floor. So we'd slow down, look at each other and then, down you go (gestures "heads down" stage posture) with your head. And moving together? I still get that buzz occasionally when two people move together. That's why people like line dancing, I suppose! We hadn't seen it anywhere. Even my brother was embarrassed. His mate said, your brother's lot look like a formation dance team! We'd think, why do we have to put these stage clothes on for? That seemed old-school showbiz to us - which is strange because now we ARE old school showbiz! (laughs)
What about the rumour that Quo were going to cover Windmills Of Your Mind back in 1976?
FR: Yeah, I've always wanted to do it (breaks into song). We used to mess about with stuff like that as a joke, but before you know it, you think this is really good. But I believe I miss a section out (breaks into song again) to suit what I want and every time I come to the real melody - agh! - back to the drawing board!
The Rockin' All Over The World album (1977) has what might be described as a "thin" production. Ever thought about remixing it?
FR: Yeah, you're right. Oddly enough, I've been in touch with John Eden, the engineer on the album. He's in Nashville and would desperately love to re-do it. I have the multi-tracks at home. At the time, producers were taking a lot of bottom end shit out and they were very much high mids. Then there was this fascination for mixing on Oratos (???), this six-inch square thing with one speaker, which had no highs and no lows. That's why Rockin' All Over The World sounds like that. Plus when you start multi-tracking guitars, there's all that harmonic distortion. You're trying to hear guitars, so you take the bass guitar out. John thinks it would be a great idea. I don't think people will say, oh my God, though. It's not exactly a Tapestry or a Rumours or a Hotel California! But to remix this could be interesting. But then who wants to finance the thing and what's the point? Do we really want another version of Rockin' All Over The World?!
Rick, I believe you knew Paul Weller - or rather, his dad John - back in Woking in the 60s and early 70s?
RP: Yeah, he was big pals with my dad. We used to drink in Woking Working Men's Club - me, John and my dad. We used to play snooker. Paul was always around the house. I used to go round and see him. Johnny used to say to me, "you got any tips for him?" I said, "don't do it". (smiles) Wasn't wrong, was I?
Francis, what's the state-of-play with your long-delayed solo album?
FR: Better than I thought. (Adopts whimsical voice) I went through some financial difficulties during the downturn and had to stop recording for a while. My engineer came round last week and we were listening to it. I've always wanted to do a solo album. A different style? Not really. That's who I am, isn't it? I've got three girls with me, plus two extra guitar players. I've been singing with one of the girls and I know a lot of hardcore Quo fans will not like that. But I can't put another male voice with me - it'd sound like Rick again. One song I'm really pleased with. It's almost Quo, shuffly, and when the girls come in for the chorus, it's like Status Quo meets the Manhattan Transfer!
How is it different recording a solo record from working with Quo?
FR: I'm used to being in the band fighting for your tracks - somebody says, I don't like that one - people jockeying for their position. Alan Lancaster always used to get strange because he'd say, I have to face my family if we do that. What's that got to do with me?! But now there's only me. I haven't got anybody to say, I haven't got my song on here. The first time I was doing it with Bob Young, Alan and Rick suggested we weren't paying enough attention to the band. The next time they gave Rick and I the idea, it was like, that'll shut 'em up, they'll soon get back together. It's probably that insecure show-off - it's all about me, mum. But I might go out and do some shows with the album next year.
Any cover versions on the album?
FR: All my own songs at the moment. But I want to do Running Bear (breaks into song). I love that record but whether you'd get away with stuff like that these days? I don't go for music magazines but I was reading a great article on The Beatles in The Word and this guy made the point that The Beatles made "happy music". Whereas now, anyone who refers to that, it would be (adopts sneering tone) "oh, they do 'happy music'". What wrong with happy music!
Would you consider a box set of live recordings, perhaps concentrating on Live At The BBC?
RP: Yeah, sounds like a good idea of interest to the fans. There are so many early sessions from there but I doubt the BBC would release them. We did a live session recently for Ken Bruce. And they came in with a tape we'd done in 1968/'69 and asked if we'd sign it (which we did) but they wouldn't let us have it - or even a copy of it, for that matter!
Is it true that you're starring in a new movie?
RP: Possibly. It's called Care Factor Zero. Apparently, we're going to be in it but it's been put back and I don't know what's happened. Me and Frank would play ourselves and get involved with some Thai gangsters in the middle of a drugs thing. We did the photo shots diving through the air with guns and a big explosion behind us, like you see on posters, jumping on a trampoline! I'm pleased we haven't done it - and I hope we never do!
Tea - or coffee?
RP: I'm a big tea drinker. I live in Spain now and we have PG Tips out there, the round teabags. I prefer them to real tea. I make the best tea in the world because I was brought up in the caffs. I could make a fantastic cuppa when I was six years old. There's an art to it. I always put the milk in first then the tea bag and then the hot water directly over the tea bag. Hold the bag and stir anti-clockwise - it's got to be anti-clockwise. It's just the best tea!
Are there any plans for a DVD of all of Quo's promo videos?
FR: No - but I think it would be a great idea. It's crossed my mind occasionally over the years. That would be a current product in the modern idiom. Some of the earlier videos are very embarrassing. I want to see how hammy it can get!
Rick, why are your guitar picks always red?
RP: They started off as grey - Herco's. Then they changed the consistency of the material and were too soft. I wrote to them. All the crew wrote to them. For Christ's sake, get these picks back to the way they were! But they never did. So I went onto black ones but struggled to find the right consistency. Then I found these Jim Dunlop ones, which I'm using now but they're not as hard as the grey ones were. Poor old Lloyd, my guitar tech, has to drill the picks with a braddle so I can get the grip. And this is the Spinal Tap bit: before I go on, all the picks are put on ice to harden them up, so when I take the pick, it's really cold so it's stiff, then it'll warm up stage then jettison it out on stage and take a new cold one!
Why did you re-record Tommy for Rock 'Til You Drop?
FR: I thought I'd got it wrong the first time but still didn't get it right the second time. It's one of those horrendous mistakes you make. I sometimes fall in love with my songs. Perhaps we can change this a little to appease everyone. But as soon as you do, as with remixing Rockin' All The World, some bloke will say, you've ruined it, it's not like the original. (pulls face)
Would you consider performing a fan club-only gig with songs chosen by the fans?
RP: Yeah, I would consider that. I tend to think Francis wouldn't. The problem would be that it wouldn't be big enough. I'd like to do it on an intimate basis but we'd end up doing a big gig. It would take a lot of rehearsing … Actually, I'm going to take it all back. I don't think it's possible! Some of those songs are good album tracks but not for stage.
Capitalism and Quo: discuss!?
FR: I'm aware that capitalism, the system we live in, will milk every thing it can out of Status Quo or any other act. It's sad. When the G20 talks were going on, I saw people saying, "capitalism doesn't work". They're right. I've been indoctrinated with this since the age of 12. However, I'm now 60 and you want to change it? You just wait until I'm dead! I don't know what the alternative is, unless it's capitalism with a cap that you're allowed to gross so many million a year and the rest you have to put back in.
Capitalism and Quo: discuss!?
Think of a Quo song which you've never performed on stage - but should!
RP: Little Blue Eyed Lady. We should do it but I don't think we ever will! But it rocks.
How about a box set of previously unissued live material?
FR: Live things bother me. Plus the core of our stage set is basically the same most of the time, with little variations or changes here and there. With live stuff, it's not live - it's live tonight. What are you talking about, "Recorded Live"? Make your mind up. It's either live or it's recorded!? So I never understood that, however big our first live album was. It's a different world these days. At some of our venues last year, they recorded the concert and fans could buy it as soon as it was finished.
Your recent tours have reintroduced some old classics - Matchstick Men, Mean Girl, etc. Will you continue to exhume Quo classics for forthcoming live sets?
RP: We're talking about a surprise at the moment. It's us coming out of character and doing something quite different on stage … a little bit of ventriloquism (laughs), a dog act, we're rehearsing it up! But the set will change anyway.
FR: We try all sorts of shit but it has to work in that framework - our set that has that beautiful thing to it. When it works, even we don't know what's happening, it's like an energy ball in front of the stage and unless we get that, what's the point of playing! We could play all the songs they want and we're up there going (sighs feigns bored expression), really good, that, like watching paint dry! It doesn't just mean because the fans hear all the tracks they want to hear that they will necessarily enjoy themselves because there's a certain thing going on when everybody enjoys themselves. A few years ago, I said we got to take Don't Waste My Time out. First night opening, a quarter way through the set, someone shouts "where's Don't Waste My Time?" Oh well, we better put that back in, then (laughs)! You can't win.
Francis, is your green Fender Telecaster the same one or have you had several?
FR: The main one I've saved from 1968. I was fascinated in buying old chest-of-drawers in old shops. Me and my Dad sprayed them or wet-and-dried them down so they looked like posh furniture and then Ronseal brought out this stuff - red, blue, black or green. Before that, wood stain was just brown shit! So I'd decided to sand the guitar down, and that looked lovely, then I thought, I'll paint it black and it looked bitchin' till it dried off and looked horrible. So I sanded it down again, painted it green this time … shit, got to go to a gig, quickly put it back together and I've never actually painted the other side yet! Something happens with the lacquer coming off. I think the sweat and stuff getting into back changed the density of the wood, the way the wood responds.
Why did Caroline replace Junior's Wailing as your set opener?
RP: Way back when, Junior's Wailing was right for the time. But then it became evident that "Caroline" is just such a hard, powerful, stunning opening song. We've tried other things and it just doesn't work. It feels totally wrong. "Caroline" is the ultimate opener.
Many bands have been performing classic albums back-to-back recently? Would you ever consider this?
FR: Me personally, no. I don't believe in it. I hated all that in the 70s. It got hip that people would come out and do "an album" and they wouldn't do the rest of their tracks. I think that smells worse than that ultimate commerciality which everyone seems to working against, the breadhead routine - "not interested in the back catalogue, wanna sell this one!" I found that horrible.
Would you ever consider a reunion with Alan Lancaster or John Coghlan?
RP: No, that will never happen. It's in the past, it's done, it's over. We're lucky to have kept the band going, and got it back to what it is now - because it's fantastic. It's really class and I would never want to take a step back. That's nothing against John or Alan but it could never be the same. It's been put to bed.
How do you decide on the set-list in terms of the balance between songs from, say, your latest album and older classics?
FR: Lots of times, the singles - like "Jam Side Down" - didn't work. Sounded great as a little single but you do it and, oh my God, it's like pulling teeth! "The Beginning Of The End" still works on stage. That's what we're always looking for. Certain things from Heavy Traffic worked: "Creeping Up On You" and "The Oriental". We'd love to put stuff in and say, you see, it all works beautifully - yeah, in a fucking dream world!
Has that always been the case: that some singles don't translate to the live setting?
FR: Yes. "Down Down" didn't work for the four years! Why!? The record company's pressing you. "I know that - I would if I could but the bastard thing won't work!" Then suddenly it does. I found with "Softer Ride" and "Mean Girl" that, for years, they wouldn't work but they do now. I don't argue with it. Now it's the panic time of year for each of us. What are we gonna do? The worst bit is adjusting the set for the British tour. If we're not careful, what we've done for the British tour doesn't work for the rest of the world. Shit! So we have to change it. We're always trying to appease the British audience. I'm not complaining about that. I just want them to know that we care.
Are the "new" boys Rhino and Matt on an equal footing or are they employees?
RP: The new boys?! Well, Rhino's 24-years-old now! Matt's only been with us since 2000 but he's very much one of the band, one of the chaps. Andrew Bown's been with us for what must be 30 years now? So Andrew, myself, Francis and Rhino own the shooting match.
Are the band's stage movements choreographed?
FR: No! Oddly, they come about over periods of time. I thought I was odd but I found out subsequently that Tina Turner did this. We'll go into a rehearsal room, say it's this size. I'll pretend we're rehearsing "Caroline" (gets up and walks about, playing air guitar). Now, if I don't do that, my left hand fucks up! Quite often, somebody'll say, that was a nice shape that came together tonight. That titillates us so we think, yeah, we'll try that again. But to sit down and work that shit out, we'd forget it.
Apart from the single Wild Side Of Life, why did you not continue to work with Deep Purple bassist Roger Glover as your producer?
RP: It was just a one-off. I thought Roger was very good. I enjoyed working with him. It was a pleasure. It's like it was fantastic just to work with Dave Edmunds for that one record, Red Sky. It's great to work with people who you admire and like. But if we'd continued it, it might have gone the wrong way.
Do you ever regret not performing Alan Lancaster-composed songs like Drifting Away in concert?
FR: We did Better Way recently, which I wrote with Alan. Drifting Away is really good on record. But it sits so long in the key of D (mimes introduction). It's great for those few moments that we captured it, though.
How difficult is it to accommodate five different personalities within Quo?
FR: It's very difficult: five people swearing blind they know what's right. There's never been a dictatorial situation in this band. We've always tried to be democratic (sighs) but democracies, as you know, don't work!
Does the band maintain an archive?
RP: It's strange because management twenty years ago said they had every record and video we've ever made, all in a vault. So I took it as read. One of these days, I'm going to ask to go and see it!
Will Rhino sing lead again?
FR: I don't mind but people say he sounds like a strangled chicken! He's good at high harmonies sometimes. He sounds like a kettle (imitates kettle whistling), that whistling at the high end - dogs hear him. Generally, he doesn't have a good voice but then nor do I. Rick used to have a really good voice but since he's tried to become a rock'n'roll singer, he's messed his voice up, for me. He had a great voice in the 60s!
Have any of the band ever heard or collected bootlegs of your shows?
RP: Yeah, a lot of it's gone on over the years. You send the heavies out into the audience - gimme that film - but we don't bother anymore. If you see somebody filming, well done on them for getting a video camera in! You often see that continual red light. Fine, put it on YouTube.
Are any of Quo record collectors?
FR: John [Edwards] would be the closest. I don't necessarily collect records but I'm still very interested in music. John goes looking for music and it's quite admirable but it would drive me insane. I like it to hit me and then I fall apart, if I like something.
Is there anything which you would change about your past - the drug consumption, perhaps?
RP: I really did regret losing so much of the 80s. That was because of drugs and alcohol. I lost so much of it. This is awful but before my children now, I don't ever remember changing a nappy for my first three kids. And that's awful. It's so good to be hands on now and experience these kids at last and I know it sounds disrespectful to my kids and my former wives but I don't remember and it's terrible. I do regret it.
What contemporary music has impressed you in the last decade?
FR: When I first heard Muse with Hysteria and Stockholm Syndrome - it's like, aw, who's done that?! For years, my mother always said to me that I got my music off the Irish side. My mother and father split up some years back and I got back together with my dad. Funny little Italian bloke. I played him Twenty Wild Horses. "I like this son! Aw, yeah, like that!" Shania Twain had the Come On Over album (sings) "You're the one that I love". I loved that song! Three bloody chords! I put it on for him and his body went (gestures involuntary spasm), "yeah, that's so…!". Oh, so that's where I get it from! It's almost like someone's hit me. Recently, I was sitting at home and (sings song), "who tthis?!" It's the Pet Shop Boys (grimaces). Don't like the Pet Shop Boys. I had to send them a message saying, I hate to admit this, guys, but I love your new single. We should all be like that: "I hate that man… lovely record, fuck it!"
If you could pick one record by another artist which you wish you'd recorded, which would it be?
RP: My Sharona by The Knack. I would love Quo to have done that. And the other one was Yummy Yummy (sings "Yummy yummy yummy, I've got love in my tummy, and I can't help loving you".) In the 60s, we were in Pye Records, that record was being played, somebody else had got it. We said, fuck, I wish we'd got it. At the time, it was just so great. I would love to have done that; great little pop record. And when we were a little psychedelic pop band…
Which songs are you most proud to have written?
RP: I really loved a song called Halloween on my solo album Delivery [1985], which was never released. Will the album ever come out? No! A lot of the tracks have been released on later Quo albums and B-sides. Halloween has got great atmosphere. I also love Rain, obviously Whatever You Want and I'm proud of Living On An Island.
FR: All We Really Want To Do on Rock 'Til You Drop. It's better than sex for me, so lovely. I like Marguerita and I knew In The Army Now was going to be a hit, even though it wasn't mine - dumb ass, I'm jockeying for somebody else's song! All We Really Want To Do I call Polly. I'd started to write the chorus, and I always give myself a sound or word that will make me remember, (sings), Polly wally doodle all the day. Then I'm stuck. I was desperately trying to crowbar in that tune. All we really want to do is what we want to do and do it all the day - good! That took days! And then you've got a meaning to get in, which was about the planet going pear-shaped. I thought there was something wrong with me again but I learnt that recently from Billy Joel that he's the same: the words have to suit (hums) what's in your head.
How difficult is it to decide on songwriting credits? Have you ever been tempted to go with "All songs written by Status Quo"?
RP: No. We've never gone down that road. Never been any discussion about it. Whoever writes the song gets the credit - simple as that.
Do you ever sit at home and play your old tunes on the guitar - like Nanana, for example?
FR: Yeah, I do. I always liked "Nanana". I reckon that should go in the set but I might end up doing it on my own. It sums up about a band writing songs: if they sound like other songs, my guitar strums along just the same, particularly if it's underlined with my name (laughs)! That was Lennon-esque - he was like that. "I don't care who it belongs to, it's got my name on it now." You can pick on other people's songs, "Oh, doesn't that sound like…?" Well, of course, we've only got 12 notes to choose from! Someone's going to stumble soon.
Quo had a famous bust-up with the BBC. How did that happen?
RP: Some people think that when we took the BBC to task over the non-playing of our records, that was a publicity stunt. It wasn't. We were pissed off and had to do something about it. Our blood was boiling! We'd done a deal with them - that we'd do their Party In The Park for nothing and they said, no problem, we'll play your records. Then they didn't play (them). I think they were so wrong to chuck everybody out - like us and Cliff and Bowie and Queen. Then, of course, Radio 1's ratings went down and Radio 2's went up!
Any particularly good or particularly bad decisions in Quo's career?
FR: If we'd had our way, around the time of Matchstick Men and Ice In The Sun, we'd have made sure we had another couple of hits. But the very fact that we didn't and it kind of fell apart meant we had to do something else, which got us to where we were. So if we'd have carried on with that success, we'd have died - probably. Suffice to say, lots of good moves and lots of bad moves.
Do you aspire to appear on what you might call the more serious music programmes, such as Later...With Jools Holland?
RP: I'd love to do it but they won't have us. Perhaps we're not cool enough. We've never been asked. That's a bit of a drag because Quo are primarily a live band. We'd love to go on and play loud (scribbles on paper) - actually, I'm going to find out why!
Credibility with rock critics or lack of it: discuss!
FR: (quietly) We've got no credibility (long pause) To our fans, of course we have credibility. They love us to death, they couldn't give a shit. But we've always been uncool. We've always been aware that anything that's cool next becomes uncool - apart from Mick Jagger and Keith Richards who've been cool all their lives and still are, as much as Keith looks ridiculous like some strange pirate. I was thinking about Hurdy Gurdy Man which went (sings) "ra-pa-pa-pum", all this four-on-the-bar stuff, and it's like Let's Spend The Night Together, then in the background you've got Keith and Mick going ba-ba-ba-ba, ba ba, ba-ba, da. Now that ain't cool!
How much involvement do you have in the marketing and promotion of new Quo records or tours?
RP: Francis and I go out and do massive promo when we've got an album or a book out. We spend perhaps a week traveling the country - Europe as well - talking to people all day every day. You go to the trouble of making it, you want everybody to know it's out there and if you leave it to the powers that be, they wouldn't! You got to go to them these days. They won't come to you!
Could you possibly choose a Desert Island Disc, Quo or otherwise?
RP: Yeah, I would have I Remember You by Frank Ifield. It was the first record that ever gave me goose pimples. I remember I was walking along, in the days when you had a little trannie on your shoulder, and this record came on. I absolutely fell in love with it and I was only playing it two days ago in the dressing room - I Google'd it. I played it a lot over the years since then. I've played it all my life. I just love that song, it's so beautiful.
FR: How many? Not fair. I'd want too many! The entire ELO catalogue because I like that shit. Probably want Hotel California and Rumours. The odd blues record.
In 2009, what are the best and worst things about being in Status Quo?
RP: There's a lot going on within the structures of Quo and sometimes things happen within the band and you're not made aware. (pauses) It's called lack of communication. In my case, that happens sometimes and I hate it. Because that causes all sorts of problems… What do you mean, we're doing that? Oh. Why didn't anybody tell me, I'm only in the band. But that's just an issue I've got. The best thing about it is the camaraderie within the band is fantastic. When we've been off for a few months' break, it's so great to see one another again. It balances your life out very well. It's lovely to be at home with the wife and I've got two new babies there. But then you get away with the band and you go across a massive fence - it's a different life! Then you go back to your other life. You get to go away and travel a bit then you get to go home and relax and settle a bit with the kids.
FR: The best thing is that it's what we always wanted to do. We always wanted to last a long time. And the worst thing is that we've lasted a long time! I've become 60, I've become Meldrew. We're born as a blank page and my page has been filling up. If I'd died years ago, people would say, oh, that's sad he's died. Now I'm an old fuck - make your mind up!
Playing live with Quo must still be a highlight?
RP: Did I omit to say that?! Of course! That is the ultimate part of it. You have good nights and bad nights. When it's tough up there, when the sound's not right, it's like dragging a Morris Minor up a hill with a rope tied to your bollocks! It really is wading through treacle sometimes. It's not so much the crowd as they're alright except for when you get a drunk crowd somewhere like in Iceland, that neck of the woods. But when it's good, and you're skipping on top of the light fantastic, it's unbelievable. You still get goose pimples off it even though you've been playing it all these years. It still turns you on. And when it's happening properly, it's so easy to do. People say, how the fucking hell do you do that - because the last set on the last tour was like an hour and fifty minutes long. You're sixty years old. When it's good, it's a piece of piss. But when it's bad, it takes it out of you! You come off exhausted.
Are you acutely aware that, in a sense, time is running out?
FR: I finished building a new studio with my engineer in this house I've moved to. We took six months to build it, really pleased. We were sitting there one night and I said (inhales breath), "this is lovely, great sound. We done well here, Greg. We'll be well away here for at least twenty… (coughs) a few more years." Can't say 25 any more! I'm just grateful to have stayed in this business for this long because I'd be no good at anything else. I'm only a little bit good at this - and I should have been a lot better at this because I would not practice, I would not listen to people. "Practice makes perfect"? Bollocks: practice makes better! All you need to know. Because you never get there. I can't see perfect: what's the point? I've been playing since I was 12 and I'm far, far away from perfect.
How do you see the future for Status Quo?
RP: Oh, fantastic! There are no blips, nothing to worry about, the band is sailing along. We're playing brilliantly. We're very lucky because we're the kind of band that have a good reputation, people know when Quo are on that we're going to give it everything. They know that it's a good turn (adopts Northern accent), "old Quo, they're a good turn"! But they know we'll get out and rock an audience. You can rely on us and a lot of promoters feel that. They can stand on Quo. We won't let them down. They're going to get a good show. So in that respect, we'll carry on working - it's what we do. We're a working rock band, always have been and always will be!
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