Omaha Rainbow : Issue 17
For a while there in February it seemed as if John might have a minor hit with the release here of 'On You Like The Wind' b/w 'Morning Thunder' (RSO 2090 274). It wasn't to be, but it was almost unreal to hear him getting regular daily airplay on the radio for three or four weeks. In fact, I would guess that one release gained more airplay than all his other albums and singles over the years put together. Sad to say, things seem to have returned to normal with the release at the end of April of 'Fire In The Wind' b/w 'Promise The Wind' (RSO 2090 286). Richard did hear it played on Radio One's "Round Table'' programme, where Brian Ferry thought he recognised the voice, but could not put a name to it; Noel Edmonds did his usual excellent public relations job on behalf of John; and Kid Jenson made the pertinent observation that perhaps if his record company brought him over, it would help the public sort out this Stewart from all the others, and quite likely lead to a hit record.
The president of RSO Records, Al Coury, was over here for a brief visit at the beginning of February and, thanks to Helen Walters in the RSO Press Office, I did get to meet him. Needless to say, I took the opportunity to make him aware (if he wasn't already) of the tremendous grass-roots support for John that exists in the British Isles, and urged him to help in getting John over here for some concerts. From talking to him then, and to other RSO pecple such as the newly appointed head of their international operations, Mike Hutson, I came away very optimistic that things were really happening, and would have taken bets on seeing John over here before the end of 1978.
Now I'm really not so sure. I know of two promoters who have expressed a genuine interest in bringing him over, provided there was the necessary support from the record company. Unfortunately, it hasn't worked out yet, though Mike Hutson did tell me recently that he and the company remained very committed to John as an artist, and did want to see him in Europe, but if they were to invest that sort of money, then the time had to be right. With 'Fire In The Wind' being by radio stations, I'm not sure when the "right is going to arrive, but arrive I hope it does, and sooner rather than later.
I think Mike Hutson may have sensed my disappointment at the apparent lack of support for John that so many of his long-time friends and admirers were hoping for from a company currently as successful as are RSO. Anyway, he arranged for me to talk to John via a telephone call to Los Angeles towards the end of April.
The early part of our call was spent with John echoing our disappointment that he couldn't tell me of any firm plans for his coming over to Europe. If it was solely up to him, he'd be on the next plane.
Having got that out of the way, John then went on to songs he has written with the next album in mind. (Yes, there is going to be another album !). One of them was, in fact, the title song for an American TV Film of the Week called ''Go West Young Girl.'' Produced by George Yanok (go to the top of the class if you recognise that name from John's past) and starring Karen Valentine and Sandra Wills, it was due to screened on the Thursday after we talked. It was further intended that this one and a half hour long film would be used as a pilot for a projected TV series, which could lead to great things if its popularity led to the hit record success that, for instance, John Sebastian gained through ''Welcome Back.''
John sang the song over the opening credits, and the music was used throughout the film. Of course, studio musicians were used for the TV soundtrack, but he was going into the studio that evening to re-record it with his own band. Other songs he was intending to do demos of at the same sessions were 'Wheels of Thunder' about Roller Derbys; The Old Gunfighter; Wilderness; Hide Where the World Can't Find Me and Louisianne. The latter is a song written some time ago (I remember Maureen Grimwade talking about it when she was living in California). The words are John's, the music is from a 16th Century classical piece called Canon de Pachebel.
Other bits and pieces from our lengthy conversation. There is, as I thought, a banjo on '18 Wheels.' It was played by John and he,". . .just forgot to credit myself on the sleeve when the album came out." In the same song, I had always heard it as "road hugger," but Pete Frame almost had me convinced that John was actually singing, "road hooker." Well, John confirmed my original hearing of it, though we both had to agree that Pete's version fitted equally well. Think about it! I also asked him about his non-starring role in Robert Stigwood's "Sgt.Pepper" film. "Oh, yeah, I'm up there on the bleachers at the end singing 'Sgt.Pepper' with everybody else, but don't sneeze or you'll miss me." Finally, it would seem that 'Promise the Wind' b/w 'Morning Thunder' was just about to be released as a single in the States, so I just hope it isn't the one to break RSO's golden winning streak.
It's really beginning to look as if I shall at last get over to America myself this summer. If I do, then I'll hope to get enough formal interview material to keep all the John Stewart trivia freaks happy for a lot more issues of Omaha Rainbow. I'll also do my best to see Al coury again - busy man though he undoubtedly is - and try to convince this incredibly successful record industry man that he might just be making a mistake if he doesn't get John over to Europe to play for his multitude of loysl fans. And even if he doesn't think it makes business sense, perhaps it could be done as a tax loss dodge to offset some of the enormous profits from "Saturday Night Fever." !!!!!!!!
Finally, a few quotes from Bill Graham's review of "Fire in the Wind'' which appeared in the Irish music paper, Hot Press, sent to me by Lewis Richards.
On first hearing, Stewart may not sound such addictive fare, his melodies - serviceable rather than spectacular - best taken as vehicles for his voice and lyrics. But while he sings as sincerely masculine as any Nashville cowboy, tremors betray a scarce-suppressed emotion. Personally speaking, he is the possessor of the one white male voice - and this is no recourse to any easy metaphor to fill a line - that can consistently send shivers down my spine. Folks like Johnny Cash and Waylon Jennings are only trotting after.
He also has a natural gentleness of one who's watched the seasons
turn, implacably die and resiliently give birth again. Unlike many
country-influenced, Stewart never sounds as if he's singing from beside
a suburban swimming pool. His father and his father's father were
both horse-trainers and Stewart never appears but born to the landscape
and the people he sings about. Too many of his contemporaries are tourists,
travelling through a mirage of a pastoral myth but never part of it. Quite
simply, Stewart doesn't pretend - and he summons up the trust reserved
for a special and loyal friend.