The Douglas Coleman Show w_ Roger Chapman

6 ago 2021 · 35 min. 5 sec.
The Douglas Coleman Show w_ Roger Chapman
Descrizione

Roger Chapman, affectionately known as Chappo, has been making music since 1966. It was then that the British singer-songwriter emerged as the voice of his generation with the seminal Family...

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Roger Chapman, affectionately known as Chappo, has been making music since 1966. It was then that the British singer-songwriter emerged as the voice of his generation with the seminal Family band. In 1979 Chapman began a solo career and recorded his first solo album Chappo. His backing band became known as The Shortlist and he toured extensively in Europe.

His four decade career has taken twists and turns through acclaimed albums and collaborations with artists such as Mike Oldfield. The song “Shadow On The Wall” from Oldfield’s 1983 Crises album with Roger on vocals, was a huge hit.

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. “Mostly it’s anger at politicians that’s kept me fired up,” says Chapman of the lyrics. “But I’m also influenced by daily happenings, world news, people, acquaintances. It’s all in the lyrics.”

As for the music, Life In The Pond joins the dots between Chapman’s founding influences. “It’s about nostalgia for the different musical styles that influenced my life. American rock from the ’50s to now. British R‘n’B from the ’60s, like Georgie Fame, The Stones, Zoot Money. Folk, blues, Motown, Stax, Blue Note jazz, Classical, Americana, and Country. A whole mess of influences…”

That eclectic roll call won’t surprise anyone who has followed Chappo through his fascinating career. Born in the Midlands city of Leicester, he told the Rock Legacy site that “I wasn’t interested in the English version of rock ‘n’ roll. All my heroes were American, like Little Richard, Chuck Berry, Eddie Cochran, and Gene Vincent – that was the real stuff.”

The 24-year-old singer joined The Farinas in 1966 and forged a dynamic writing partnership with lead guitarist Charlie Whitney. But the critical juncture came when the band renamed themselves, Family, moved down to London, and dreamt up a distinctive sound that swirled jazz, blues, folk, prog, and psychedelia into their classic 1968 debut album, Music In A Doll’s House. “We didn’t try to be different,” Chappo once shrugged. “It was never calculated. It was as naive and as honest as that.”

Cherished by transatlantic fans, championed by DJ John Peel, and hitting UK#13 with the “Burlesque” single from 1972’s acclaimed Bandstand, Family released seven albums before disbanding in 1973. Chappo didn’t miss a beat, partnering with Whitney in Streetwalkers: a tougher Americana-influenced vehicle whose albums included 1976’s hit, Red Card. “The name had nothing to do with hookers,” he reflects. “That was the input of shabby managers.”

By 1979, this prolific singer-songwriter was ready to strike out solo with the Chappo album, and over four decades later, Life In The Pond ties all the threads together.

Stunning guest guitar from long-term collaborator Geoff Whitehorn – this latest album finds Chapman’s voice in vintage form and his musical radar more receptive than ever.

Opening with the rootsy groove, vocal grit, and brass licks of “Dark Side Of The Stairs,” the album’s mood roams from hypnotic seven-minute epic “Nightmare #5” to “Rabbit Got The Gun’s” dystopian soul-funk. “Having Us A Honeymoon” opens with a snatch of Mendelssohn’s Wedding March before honky-tonk piano leads a lusty East End singalong. At the other extreme, On “Lavender Heights” is a hushed stunner, Chapman using little more than his voice – with a dash of keys and strings – to carry a flash of genuine tenderness.


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