W.C. Spencer, the one man blues band. On this last album he's recorded most of the instruments himself and it sounds great!
DM) Where did you learn to play the blues?
WS) Back in the Sixties, the only artists exposed to the efforts
of American blues labels were the English. This 'distribution'
problem was a conscious effort on the part of the major labels
here in America not to make these recordings available to the
general public in the US. Most of the blues I heard to begin
with was from people like Peter Green, Eric Clapton and, most
of all, Jeff Beck. Beck's album, 'Truth', was mostly blues and
a terrific record. I was hooked immediately and went in search
of the art form.
DM) Why was there a conscious effort on the part of the major
labels here in America to limit the releases?
WS) The major labels, at this point in time, did not have
blues as part of their standard format excepting their race records
subsidiaries, which targeted blacks only. The closest they came
to releasing blues was via jazz. The very first blues I heard
(8 years old) was off of my parents turntable where they had
(and I still have) 'Louis Armstrong plays W.C. Handy'. Gems like
'Atlanta Blues' and 'Hesitating Blues' I still listen to even
today and I included the former song on my new CD exclusively
as a result of my exposure to this record.
DM) Were your parents musicians too?
WS) No way, they still look down on it even today.
DM) You recorded all the instruments on this album yourself.
Why did you decide to do that?
WS) Necessity being the mother of all invention, I started
playing all of this stuff back in the early Seventies when I
couldn't find musicians who wanted to travel as I did. In experimenting
with a tambourine under my right foot, I made a startling discovery.
If I used the walking motion of my foot, I could rock the tambourine
back and forth with little effort. Subsequently, I placed a trigger
for a bass drum under my heel and used the front of my foot to
execute hi-hat, snare and crash cymbal. The natural progression
included bass pedals on my left foot to counter the heavy drumming
on the right foot. I gradually learned how to keep the rhythm
going while playing the guitar, singing and playing the harmonica.
Now it is almost second nature to me and it offers an economy
of scale in my recordings and travels.
DM) So you didn't overdub?
WS) The keys on the CD were all added at a later time by Mookie
and Marty. On three of the 14 songs, Andy Allen, co-producer
and longtime host of his own blues radio program on WTMD in Towson
MD, wanted to >leave in some additional instrumentation I
had tracked to get ideas for other voices. In one case, 'Killer
Filler', the extra guitar was really just a jam to blow off steam.
I had no idea the outtake would make it to the finished product.
In another case, 'Some of the Things', I laid down a harmonica
track separately as a template for some horns. The horns never
made it so we used the harp instead. The electric and acoustic
music was all laid down in one take (including drums, bass, guitar
and vocals) on most tracks because that's what I do best. I lose
the feel if everything is done in bits and pieces.
DM) Do you regret the idea of playing with a steady band?
WS) If you mean do I regret not playing with a steady band
consisting of other sentient beings, the answer is yes.
DM) What blues artists do you admire?
WS) Those I have seen live are first and foremost. While attending
Lynchburg College from 1968-1972, the school hosted Blues Image,
whose hit, 'Ride Captain Ride' had propelled them into a national
touring act. At the last minute Mike Pinera, guitarist, songwriter
and band leader could not or would not make the tour, I do not
know which. As a substitute, they toured with a guitarist named
Kent Henry. The concert they performed at Lynchburg College will
be forever etched in my mind. Here was a true virtuoso, not only
of his chosen instrument but of a genre of music as well. I was
stunned and this experience motivated me to seek out these tones
and musical attitudes. Roy Buchanan is another developing influence
for me along with Danny Gatton, both of whom I appeared with
over the course of an eight year stint across the US and back.
When Roy invited me up to accompany him and his band in a San
Diego nightclub in 1981, it was the thrill of my life. A couple
of others who mean a great deal to me are Mississippi Fred McDowell
and Shuggie Otis. Everyone you hear influences you so this list
goes on and on and on.
DM) Has a fan ever said that you influenced them?
WS) A few drunks, maybe.
DM) Where do you hope your musical career will be in 5 years?
WS) At a place that will allow me to make a steady income
off of it.
