By Harvey Kubernik © 2020
In 2016, singer/songwriter Gilbert O’Sullivan signed with the BMG, the worldwide label and music publishing empire who ushered in
Courtesy BMG Music
O’Sullivan’s 2018 self-titled album Gilbert O’Sullivan produced by Ethan Johns (Kings Of Leon, Ray LaMontagne, Ryan Adams, Paolo Nutini, and Rufus Wainwright).
The album went Top 20 UK in 2018, his first British charting studio album in over 40 years. Gilbert has just completed a 16 date sell-out tour of the U.K.
O’Sullivan has continued to bring forth his current tunes and recordings in select live performances (both solo and full band) to thrilled audiences across Europe, Japan and assorted parts across the continents for some time.
Theater critic Peter Grant of the U.K.’s Wirral Globe proclaimed in his 5-Star review from October 14, 2019, “Glorious Gilbert at The Floral Pavilion….A joyous journey through the diverse, rich back-catalogue of one of the world’s most successful singer-songwriters.”
And what of America? The ominous, often intimidating large slice of a nation across the pond that many European troubadours before him have seen as make-or-break territory, it still looms large (often ominously) on any touring artist’s itinerary.
Gilbert triumphantly returned to the states in July 2019 for two exclusive east coast performances, one each in New York and Philadelphia.
Billboard’s Gary Graff made it clear in July of that year with his headline: Gilbert O’Sullivan Talks Returning To U.S. Stages For First Time In 43 Years…
O’Sullivan told Graff of two distinct live performance set-ups: one with traditional full band — and one as solo, accompanied by one of Ireland’s finest guitarists Bill Shanley.
Shanley is also a trusted accompanist of The Kinks’ Ray Davies, amongst others.
“In many instances, (audiences) said they liked it more (than the full band), because they felt like I was singing to them, that intimacy you get when it’s just two people,” O’Sullivan offered Graff. “Since I’m reintroducing myself to American audiences with these shows, this seemed like the right way to do it.”
O’Sullivan has a devoted and loyal following in the US, largely owing to his acclaimed “Alone Again (Naturally),” the masterful heartstrings-puller that reached #3 in the U.K., and a stunning #1 in America spending six non-consecutive weeks at #1 on the Billboard Hot 100 chart, selling nearly two million copies.
It also garnered three Grammy nominations, no small feat in highly competitive 1972. Music scholars take note: The gorgeous nylon-string guitar solo was played by British session legend Big Jim Sullivan.
There have been additional O’Sullivan works to be admired before and after. Classic rock, Satellite and NPR radio stations for decades have programmed “Nothing Rhymed,” “Out Of The Question,” “Clair,” “Get Down,” the both romantic and knowing, youthful and adult “Matrimony” and dozens more – million sellers joining company with delightfully yet-to-be discovered gems, including a wonderful duet with icon Peggy Lee “Can’t Think Straight.”
Gilbert O’Sullivan is the winner of three coveted Ivor Novello awards in the UK, one for “Songwriter of the Year” in 1972. He thankfully prevailed throughout the difficult time of litigation with his former manager and record label, which finally concluded in 1982.
Gilbert found himself to be a champion of songwriters and musical copyright holders in 1991, winning litigation in a landmark case with Biz Markie concerning the use of a sample of “Alone Again (Naturally).”
As a result, that victory brought about an artist precedent, insuring that music samples would be cleared/approved/negotiated by all parties involved, prior to use in commercial recordings.
During 2020, beginning Sunday, April 12 in Washington DC, O’Sullivan will kick off a 7-city City Winery tour followed by west coast dates at Freight & Salvage in Berkeley, California and The Mint in Los Angeles. Japan dates follow.
Sunday, April 12, City Winery, Washington DC
Monday, April 13, City Winery, Philadelphia, PA
Wednesday, April 15, City Winery, New York, NY
Thursday, April 16, City Winery, Boston, MA
Sunday, April 19, City Winery, Chicago, IL
Monday, April 20, City Winery, Nashville, TN
Wednesday, April 22, City Winery, Atlanta, GA
Friday, April 24, Freight & Salvage, Berkeley, CA
Sunday, April 26, The Mint, Los Angeles, CA
May 27-Osaka, Japan Sankei Hall Breeze
May 29-Tokyo, Japan Tokyo International Forum
May 30 Tokyo, Japan Tokyo International Forum
Harvey Kubernik Interviews Gilbert O’Sullivan
Courtesy BMG Music
Q: You must be looking forward to your American Tour in April. The buzz following your 2019 shows in New York and Philadelphia is considerable. What’s your overall feeling about covering more ground this time in the U.S.?
A: It was wonderful coming back and performing after 40 years. As it’s taken me so long to get in, the nice thing is having made the breakthrough and I’m so looking forward to performing for you all.
Q: What was the creative process like working with Ethan Johns on your latest self-titled album Gilbert O’Sullivan? There’s also mini-documentary on your website.
A: Ethan has a very analogue approach, which was perfect for me. He doesn’t like the digital approach and we recorded everything live on tape, which gives a warmth to the record. Everything was recorded live with the band, 2/3 takes of each song and Ethan liked the take which wasn’t perfect, which had a truthfulness about it. He has a very organic approach and was a joy to work with.
Q: What the best work environment is for you to find inspiration. Do you use a computer this century for song ideas?
A: It’s the ‘Brill Building’ mentality, I.E. Carole King, Neil Sedaka, Gerry Goffin – a 9-5 discipline work ethic where I sit by the piano for however long it takes, until I come up with that idea. I’m totally computer illiterate! My recording is all on cassette, via my 70’s ghetto blaster with in-built mic. The new album has also been released on cassette in honour of this.
Q: Your album and single “The Same The Whole World Over” is being serviced to American radio. What are your thoughts about that song — and any other favorites on the album you feel programmers should share with their listeners?
A: After performing the songs live on stage, “Penny Drops” gets a great reaction. “The Same The Whole World Over” rocks it up, it’s a really good track, one of the rockier ones on the album, in contrast with “I’ll Never Love Again” the ballad. Another favourite, also of the fans, is “Dansette Dreams and 45s” which gets a wonderful reaction every time people hear it live.
Q: Tell us a bit about your accompanist, guitarist Bill Shanley who has worked with Ray Davies.
A: Bill is one of Ireland’s finest guitar players and a great accompanist to me on stage. Musically he adapts to the songs, as well as his brilliant guitar playing, he provides great vocal harmonies and backing.
Q: Do you remember the very first time hearing your music on the radio when your career began?
A: Before “Nothing Rhymed” my very first single “Disappear” was played in 1967 by the legendary DJ John Peel, who was a great supporter of me in the early days. Then hearing “Nothing Rhymed” being played on Radio 1 extensively was a big thrill.
Q: You plan to visit some legendary American Cities on your tour itinerary. Any personal recollections of visits to these places? This could be recollections of being on tour, recording – or on holiday. San Francisco, for example, even been there?
A: Passed by San Francisco, that’s a great city. We love Nashville, and have a place there in Hendersonville. New York is always special. I recorded there with Phil Ramone before he produced Billy Joel in 1972. And when I met my wife, she was living in Manhattan Beach so playing in Los Angeles is going to be extra special.
Q: Can you just comment on “Alone Again (Naturally)” – and any feedback from a fan or artist about that song that really registered?
A: Every reaction to “Alone Again (Naturally)” is special. Many people think it is about a personal experience but it is not, I feel you don’t always have to experience something to write about it in a sincere way. The song means so many different things to people and it intrigues me how much it means to people. The success in America made the song their own and it has been covered by Neil Diamond and also Michael Bublé with Diana Krall, which means a lot.
Q: What was it like working with Graham Gouldman as a producer on your Life & Rhymes album?
A: Graham is a friend and it was a nice experience working on the album together. He recently joined me onstage in London playing the bass on “Nothing Rhymed” which was a lovely moment.
Q: Morrissey has performed your “Nothing Rhymed,” “Alone Again (Naturally),” and “I Didn’t Know What To Do” in concert occasionally since 2002.
A: It was nice that he performed it, but more so that he performed the B-side “I Didn’t Know What To Do,” which has brought me back to that song and I now perform it live again.
Q: Elton John joined you for a TV appearance in 1973 on your special Gilbert O’Sullivan: Welcome To My Show when you performed “Get Down” together. Mutual Admiration Society? Do you have any fun anecdotes about your time together with Elton?
A: He was a guest on my show and we just met before at his home which was an enjoyable meeting.
Q: What was it like working with the late, great Peggy Lee – and how did that collaboration come about?
A: It was the first time I’d had a duet in mind and didn’t want a contemporary singer. I’m a huge Peggy Lee fan, “Folks Who Live On The Hill” is one of my favourite songs. We approached her in New York about the duet, she heard the song, loved it and we flew to New York to record it at the famous Hit Factory studio.
Q: What great artist, living or passed on – would you most like to meet?
A: Fats Domino. He’s been a big influence on me and a song of mine “Forever Wondering” is a nod to him, I play this live in the set.
I’m really looking forward to playing for you all and getting to meet people after the show. Bring on April!
http://www.gilbertosullivan.co.uk/
(Harvey Kubernik is the author of 16 books. His literary music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December 2017, by Cave Hollywood. Kubernik’s The Doors Summer’s Gone was published by Other World Cottage Industries in February 2018. It was nominated for the 2019 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research.
During November 2018, Sterling/Barnes and Noble published Kubernik’s The Story of The Band From Big Pink to the Last Waltz. In late 2020 Sterling/Barnes and Noble will publish a Kubernik title on Jimi Hendrix.
For 2019 Kubernik penned a guest essay for The National Recording Registry at the Library of Congress in Washington, D.C. on the landmark album The Band. In November of 2006, Harvey was a featured speaker discussing audiotape preservation and archiving at special hearings called by The Library of Congress and held in Hollywood, California.
Kubernik’s 1995 interview, Berry Gordy: A Conversation With Mr. Motown appears in The Pop, Rock & Soul Reader edited by David Brackett published in 2019 by Oxford University Press.
Harvey is featured in the 2014 book by Jeff Burger on Leonard Cohen Interviews and Encounters for Chicago Review Press. Kubernik has written the liner note booklets to the CD re-releases of Carole King’s Tapestry, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special and The Ramones’ End of the Century.
In 2019 Kubernik served as a Consultant on a new 2-part documentary on the musical legacy of Laurel Canyon. Alison Ellwood is directing the documentary who helmed the History of the Eagles. 2020 Broadcast date is Sunday, May 31st at 10 p.m., and concluding the following Sunday, June 7th at 10 p.m.).
