Dave Mason: Music and Memories (Part 2 of 2)

Continued from Part One

What can people expect on this tour?

Dave Mason: I’m doing a number of Traffic-themed songs in this set, to break it up. But beyond that, we play “Only You Know and I Know,” “We Just Disagree,” “Look at You, Look at Me,” “All Along the Watchtower,” “Let It Go, Let It Flow,” “Shouldn’t Have Took More Than You Gave.”

For some of the songs, I have my bass player, Ray Cardwell, singing: “Pearly Queen” and “40,000 Headmen.” And [guitarist] Johnne Sambataro – John’s been with me about 45 years – he does a great version of “Can’t Find My Way Home.” So I kind of mix it up a little bit; it’s not all Dave.

For “Feelin’ Alright” I steal a little bit of [Joe] Cocker, a little bit of this, that. It’s been done so many ways, for god’s sake. 50 major artists have done it. Some young band just did it at Coachella; it’s the Energizer Bunny song!

When you wrote “Feelin’ Alright,” did you have any sense at all that it might ever take on a life like that?

No! I mean, the song is a down song, the way I wrote it. It’s about not feeling too good with myself. But it was the Cocker version that really took it to a different place and spawned all those cover versions.

During the lockdown phase of the pandemic, you recorded a new version of “Feelin’ Alright” with an all-star collective you dubbed The Quarantines: your former Fleetwood Mac bandmate Mick Fleetwood, Sammy Hagar and four members of The Doobie Brothers. How did that project come about?

People kept pestering me to do something on the Internet, and I was like, “Eh, I don’t know. I don’t feel really comfortable just doing something solo. I’ve never really done that.” Then, I thought, “Well, let’s see. There’s some artists I know that I am somewhat friendly with. And then, it was a question of just passing the recording around between Hawaii and the mainland and back and forth, piecing it together. And for something that was pieced together all over the place, it came out amazingly well.

The thing that made it work so well was that I was dealing with really professional musicians. Nothing beats being there with everybody in the studio and cutting it together, but it depends: it could work either way. For me, it’s the same. It’s always been all about the song. With all the technology and everything else, in the end, it’s the song and the performance.

There have been at least five Best Of albums of your material. With such a large body of work and so many classic songs, how do you put together a setlist that leaves room for either new things or something you really want to play?

What I try to do for stage is put things together but give enough room to keep it interesting. A lot of the songs that I’ll pick will have instrumental breaks in them, and those are never the same. Other than “We Just Disagree,” which is something of a set piece, everything else I do has got something different going on every night musically. And that keeps it interesting for us. I have to keep it interesting for the band, otherwise you’re going to be like these people that are up there just going through the motions.

Beyond that, what keeps it interesting and fulfilling for you to go out and play shows these days?

Well, I can still do it, and I can do it better than I did it 40 years ago. So, whilst I can still do it, I’m going to keep doing it.