Continued from Part One…
BK: Eighteen years passed between release of The Promise and Among the Stars. Certainly you were busy with other things in the intervening years, but why so long a gap? And again – did you build up a backlog of songs over that period, or did you approach the album as a new project, and set about writing for it anew?
MP: I was very happy and busy with family life! During the years I was active with my band I did not have much of a private life. We were always recording or touring. First the release of Magnificent Moodies and Go Now in 1965. Then the formation of Moodies II. We were busy then from 1967 to 1978 recording eight albums. It was a rewarding but grueling work schedule.
I wanted to spend as much time enjoying and nurturing my family as I had done nurturing a band. When my sons were almost grown I thought it would be fun to get back into the studio recording. I have always had a small recording studio at home so even though I did not formally release any songs during those years, I was always tinkering around with the music and listening to the muse.
BK: Among the Stars seems to feature a sound that is closer in some ways to what you had done with the Moody Blues, specifically in its greater use of keyboards. Was the fact that so much time had passed a factor in your thinking, “it’s okay to sound like this now and then” or was that not part of your thinking at all?
MP: Keyboard is my main instrument so it is always an easy choice for me in an arrangement. I don’t think it was a conscious decision to use more Mellotron or keyboards. Having the sounds of the Mellotron available to me helped me to arrange and paint the backdrop for the song. I think you will always hear Moody Blues in my songs and arrangements because the music of the Moodies always reflected a certain part of who I am, my message and my creative vision.
BK: Part of the stated reason for your leaving your old band had to do with not wishing to tour. Did you do any live dates to promote either The Promise or Among the Stars, and to what degree have you engaged in public performance since that time?
MP: I did a tour in the US when I released The Promise. But I did not do any live shows when I finished Among the Stars. Instead I did a tour in the USA of Borders Books & Music stores. That was really fun. I got to meet and greet the fans. It was a beautiful experience to hear first hand the impact the music has had on listeners of our music. I have always said that that is my Hall of Fame. Who needs a bogus political entity telling me that I am worthy of recognition in Rock’s Hall of Fame. When you have changed or touched a life in some magical and wonderful way with music or art then the artist has hit the jackpot.
BK: The Mellotron was long notorious for its – many said – unsuitability as a live performance instrument. You, of course, used it extensively. Today, very few musicians do that; beyond Damon Fox of Bigelf, I don’t know of any other touring musicians who use a Mellotron. And when albums note the use of a ‘Tron, often it’s (ironically) a sample of a Mellotron! Of course there’s something called the Memotron, an attempt at a modern digital answer to this decidedly analog instrument. Are you familiar with the Memotron, and if so, how do you think it compares to my favorite musical instrument, the Mellotron?
MP: I think it was fate that brought me together with the Mellotron. Besides being a player, I have always had an interest in mechanics and engineering. The Mellotron was manufactured by Streetly Electronics in Birmingham and I applied for a job working in the factory. A perfect match. I loaded the tapes and made sure they were timed correctly. The fact that I could assemble a Mellotron from top to bottom enabled me to troubleshoot the instrument. I knew it inside and out.
The Mellotron was delicate. Improper handling would cause the tapes to get tangled. Also it was a heavy instrument at 350 pounds. All the weight was in the housing.
I have only seen the Memotron online but it is a concept that I did for myself years ago when I digitized my favorite Mellotron sounds to use on a Roland sampler. In the early 90’s I digitized and looped my favorite Mellotron sounds, and I now play them on a Roland S-760 Sampler (weighing 3 pounds) I also digitized the best sounds of the Chamberlain. So now I can play both in stereo. I still love the Mellotron but it is nice to have it available to me in a more compact version.
The sound and tone of the Mellotron is uniquely recognizable and I think I achieve my signature sound by the interface of how I use the pitch control and volume pedal.
BK: Two of the three bonus tracks included with Among the Stars feature involvement by Ray Thomas and Tony Clarke. When were those recorded?
MP: A few years before we lost Tony, he came over to the States and worked with my sons, Michael Lee and Matt Pinder (also known as The Pinder Brothers) on their CD Ordinary Man. “Waves Crash” and “Empty Streets” were songs Tony produced. We sent the tracks to Ray in the UK for his flute parts. It was a real treat to have them working with my sons.
BK: The new package is very nicely put together, with the box, booklet and DVD. How did this project come to be?
MP: I met the people at Esoteric on a visit to the UK. They had released a box set for my dear buddy Ray Thomas, and Ray introduced me. They are passionate about music, and this is rare in the record business of today.
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