A Conversation with Iain Matthews – HuffPost 8.29.14

Mike Ragogna: Iain, your band Matthews’ Southern Comfort had a hit with the song “Woodstock” although we also associate the song with Crosby, Stills, Nash & Young and, of course, its writer, Joni Mitchell. How did the song come your way and were you surprised at how successful the recording became?

Iain Matthews: I found the song on a Joni Mitchell album I’d bought that week. We were due to do a BBC recording session and needed an extra song. I suggested ‘Woodstock’ and we worked it up. Upon airing the session, the phone in response was so great on that song, the BBC contacted my label to find out the availability of the song. Uni–my label–had no idea what the Beeb were talking about and contacted my management, who asked me about it. Uni suggested that we record the song and add it to the newly recorded Matthews Southern Comfort album, Later That Same Year. I declined to mess with the completed album, but agreed to have them release the song as a single. It then took a full 6 months for the song to be a hit. A prominent BBC DJ, Tony Blackburn, made it his record of the week and all hell broke loose. It began to sell 30,000 copies a day, eventually going from #10 to #1 in a week. How can one NOT be surprised at the success of any recording, unless its totally premeditated, which this was not.

MR: Your “sound” as a solo artist as traveled surf, folk, pop and rock routes. Who were your creative influences and how did you become a member of Fairport Convention? What do you think their influence was on music during its early years?

IM: We should add jazz to the beginning of that list, as its subconsciously been a heavy influence on my music since the mid-sixties. I had been in a band called Pyramid. We broke up in early 1967, after having a single on Deram. Through a chain of events, to this day, I don’t quite understand. I was recommended to Fairport Convention bassist, Ashley Hutchings, by my A&R man at Deram. I was invited to audition and met the band in the studio, about to record their first single. That recording of “If I Had A Ribbon Bow” was my audition. That’s how it was in those days. I cannot remember Fairport having any influence on anyone in “those days.” No one even tried to emulate us. We were unique in everything we were doing. Most people around the UK thought we were American.

MR: What led you from Fairport Convention to starting up your Matthews Southern Comfort.

IM: I left Fairport over musical differences. After Sandy joined the band, they were heading in a distinctly “trad” direction, not something I wanted to do. A parting of the ways was inevitable. I’d learned enough about what style I wanted to pursue and consequently, MSC was birthed.

MR: What’s the Plainsong story?

IM: Plainsong was formed after Andy Roberts and I had toured the USA, in support of my new solo album If You Saw Thro’ My Eyes. After eight weeks of touring, it was apparent to both of us that we needed to collaborate in some way. I then abandoned my fledgling solo career in favor of Plainsong. This was in 1972.

MR: You released a number of solo albums including Valley Hi with former Monkees member Michael Nesmith producing. What was it like working with him and recording solo material during this period?

IM: That album was recorded in Los Angeles, in 1973. Michael was extremely involved in becoming an executive, forming his new label, Countryside, and developing his studio. It seemed like a wonderful opportunity to work with the man and probably was, but it quickly became apparent that Michael’s priority was not the recording of my album. Don’t get me wrong, I had a terrific time around him and would make the same decision again, in a heartbeat, but that album was mostly produced by me. I’d moved to L.A. because of the burgeoning singer-songwriter scene developing there and was not disappointed. I made many friends and acquaintances in that first year, quickly realizing that was where I needed to be to develop my own art.

MR: Who’s decision was it to rename you “Iain Matthews,” adding that second “i”?

IM: It was no one’s idea. It simply happened. I had always been irked by the bastardized English spelling of the name and it was really just a matter of timing, to change it. My daughter designed a cover for one of my albums, with a drawing and misspelled my first name. Rather than correct it, I simply changed my name.

MR: Your cover of Terence Boylan’s song “Shake It” became one of your biggest hits. What’s the story behind that song, how did it make it into the movie Little Darlings, and why do you think that recording became your highest US charter?

IM. I was living in Seattle and heard the song played on a local FM station. I called the DJ and he sent me a copy of the album. I actually recorded two of Terence’s songs on Stealin’ Home. The first I knew about the song being in the movie was when it came out and a friend called to ask if I’d heard it. I can only imagine that the US label submitted it for consideration. I was never involved in that side of things back then. It was more a managerial move, than an artistic one. Why is a hit ever a hit, regardless of where it charts? I have absolutely no idea!

MR: You also recorded Robert Palmer’s “Give Me An Inch.” Were you a fan of Robert Palmer’s? Why did you pick this track over his other material?

IM: I was a peripheral Robert fan. I knew him when I lived in England and had followed his musical development. I heard the song and wanted to interpret it. This was before “Johnny and Mary” and in my estimation, his first standout song.

MR: Both songs are from your album Stealin’ Home that is about to be reissued on Omnivore. What are your thoughts about that album all these years later and what are some of your favorite tracks on it?

IM: I think it’s a good album, from another time and place. A stepping stone of sorts. It turned me and propelled me in a certain direction, which at the time, was exactly where I needed to go. I don’t listen to it much these days, but would have to say, whenever I do, I’m pleasantly surprised by its musicality. This is special repackaging, as it includes live material from the era, reminding me again what a special time it was. If I had to choose favorites, I’d say, “Let There Be Blues” and John Martyn’s, “The Man in the station.”

MR: To this point, you’ve had a very prolific career with many albums, singles, and much international success. Do you have any thoughts about your catalog and life spent as an artist?

IM: I consider myself a very fortunate man, to have been involved in music for my entire adult life–give or take a year, here and there. Music motivates and propels me through life. So also being a creator is the greatest scenario I could ever wish for. I’m both proud and thankful of my catalogue–over 50 commercially released recordings. Not many can boast that.

MR: What advice do you have for new artists?

IM: Do it for the right reasons
Develop a songwriting style.
Build a grass roots following early on.
Follow the muse and respect it
Never settle for average.
Always give it your very, very best.
Be thankful for whatever comes your way and don’t abuse the gift.
Stay healthy of mind and body.