Blondie Chaplin

Blondie Chaplin on being a Beach Boy, Holland, working with Brian Wilson & The Rolling Stones

Blondie, you started very young. You played in the band The Flames in the mid-to-late 1960s.

The Flame was my third band. So, yeah. So I started like around twelve or thirteen. I just got hooked and I got, you know, kind of like addicted, put it that way.

And who were some of your influences growing up?

South African singers who influenced me were Zayn Adams, Edris Fredericks and Ronnie Madonsella. And inside South Africa at that time, whatever you could grab from the radio we would listen to, like R&B from the States. You know, Little Richard, Fats Domino, the Platters, Roy Hamilton, Etta James, Otis, Aretha. And what was on the radio, because that’s all we had. Wow, there are so many names. We were part of what I call the Colonies because most of the Rolling Stones, Beatles and all the English bands, we go it very quick because it was part of the English distribution, so to speak.

The story is that when The Flames performed in London, Carl Wilson heard you and was knocked out by you guys.

I think it was in Kensington and we were playing at a place called Club Blazers. What happened was that Al (Jardine) came in, I believe, the first time. And he was the one who told Carl to come down to see these guys. And that’s how we met. Then the group broke up and I got a call from Jack Rieley who was managing the Beach Boys at the time, and he asked if I wanted to play with them. I was in Southern Africa, and it was a little dismal. It was the freedom to breathe and play music. So it was a good opportunity to again go look  at the world. So, I mean, I took it. And Ricky had been called by them to help out with drums with Dennis and then eventually took over. So I left South Africa and the next day I played bass on “Heroes and Villains” in Luxembourg.

On 1972’s Carl and the Passions – "So Tough" album, you co-wrote “Here She Comes,” “Hold On Dear Brother” and also co-wrote “Leaving This town” on the Holland album. Can you explain the writing process – was it done mostly in the studio?

Ricky and I wrote them outside the studio. Ricky lived off in Hollywood on Fountain Lane, I think. That's when we we started to fiddle with all that stuff. We were writing them months before Carl heard them and he gave us a nod to put them on there and that’s what we did. That album was more like experimenting and looking. A lot of people didn’t like it or thought “oh, they’re trying to go somewhere new.” For me “Sail On Sailor” was like an extension of Carl and the Passions – "So Tough.” That’s what I always felt because if you listen to Carl and the Passion’s songs,  some of the grooves were going towards what you heard on “Sail On Sailor.” Although “Sail on Sailor” was recorded way after Holland was already finished. It was done at Village Recorders. Holland wasn’t going to come out until there was a listenable song on the radio. Brian came up with something, Carl produced it and that’s what made the album come out.

You’re best known as signing lead on the classic Beach Boys’ track “Sail On, Sailor.” Can you tell us the story behind it?

It was myself, Carl and Dennis. Dennis came in with his truck and his surfboard, yelling about the surf being up and the waves being great. Carl wanted him to try this song, so Dennis tried it, and he said “that’s not for me.” He told Carl to give it a shot, and then said goodbye and jumped into his truck and went surfing. I understood it because it was part of his passion, the waves were good and he thought his voice was a little too gravelly for it. So Carl tried it, but he thought my timbre suited it better and I got the nod to do it.

It took three times to do it – it’s a mountain full of words. So, it’s like you get tongue-tied as you sing it. Sot it took me a few times just to get a handle. The third time I did it, I knew some of the lyrics but you really need a guide there, otherwise you just get tongue-tied all day long.

Despite Brian being fairly inactive during your time in the band, he did have some songs like “You Need a Mess of Help to Stand Alone,” “Marcella,” “Sail On Sailor” and “Funky Pretty.” Can you tell us what is was like working with Brian in the studio?

Yeah, Brian was around during Holland. He was there on funky little Bond Street. Every time the train came by, we had to stop everything because everything shook because there was this mountain of cords everywhere – everything connected like a makeshift home studio. But we never knew when the trains would come by so whenever we heard the train stop for a few minutes before rumbling by, we’d start up again.

Brian was a little bit there during Carl and the Passions, but he was mostly there in the studio during Holland. I thought he was just completely energetic and all over the place – in a good way – when he was doing backgrounds and everything. He’s very quick – I mean he will throw a part to each person. You don’t know the full scope of where this part is fitting, but when we start to sing the song, it makes so much sense. So, I was just amazed at how quick he was and how effortless it was for him to put the parts together, and moving parts and the counterparts.

Brian’s been described as having a tough go at it in his life during this time.

Well, there might be that element, but I’m just talking about when he was in the studio – this is what I saw, you know what I mean? And it was a pleasant experience. I enjoyed it on “Funky Pretty” especially. I wish they had kept the mix that HE had done, where everything was kind of full ball and it made people a little nervous because it went a little in the red (overload), but it was a whole lot more powerful, and very, very like overwhelmingly strong. He was behind the board this time – but not just this one time. He would try certain things and they just sounded fantastic.

There are a lot of Beach Boys fans who name Holland as one of their favorite albums.

Oh wow, I’ll tell Ricky when I talk to him. But I’m glad they think so. I thought that Ricky and I were a nice part of that two–three years or whatever years it was. Holland seems to have more licks now than ever, and it stands out as one of the better ones as far as critics are concerned. It’s nice to be part of something like that.

You know what it is? If you’ve listened to “Sail on Sailor’ for awhile and I’ve been playing it for awhile and we do a very good, energetic version now more than ever, and I think younger people have kind of grown up with it and they go back and get a turntable and an amplifier and then going back to put a vinyl on and looking at the cover – it’s an experience.

After you left The Beach Boys, you played with a veritable number of musicians and bands, including Rick Danko, David Johnson, The Band, and many others.  You then toured with The Rolling Stones for about 10 years, as a backing vocalist, and played and and sung on their Bridges to Babylon album. Can you tell us what it was like working with the Stones?

Well I sang mostly background vocals and it was thoroughly enjoyable. It was great, a nice looser, rockier atmosphere, energetic, and for me soulful because the songs are pretty soulful as far as I’m concerned. It was great to be a part of it – a great memory and experience. When you tour with people for over ten years, you get to see somebody every day, you’re going to soundcheck and what have you. I remember the smiles, you know, the playing and just the smiles on stage.

It was sad about Charlie Watts passing away.

He was very pleasant, just a joy to hear him and see him – especially when he was dressed up. A good guy – I can’t say too much more than that. It was very sad and jarring to hear as it was for many people. I miss his banter. When the South Africans would beat the English in a cricket test series, he would come to me and say “your lot clobbered us today.” Little stuff, big memories.

How do you compare the Beach Boys and the Rolling Stones?

The Beach Boys stuff was mostly the early stuff, you know what I mean? They continued but most of the attention was on that. The energy was up like any young band, and they had good hits and all that. The Stones just had a different R&B harder edge and kept pumping music out. They’re still viable now. I'm just saying there's these two different worlds. You know what I mean?

2002 saw you reunite with Brian on Anton Fig’s Hand on My Shoulder album. The title track is just incredible. It features your lead vocals and and these amazing stacked harmonies by Brian. Did you have the opportunity to meet up with Brian at this time or were your tracks recorded separately? Also, knowing Brian’s story, did it surprise you how well his harmonies were arranged and how beautifully he sang them?

Yeah, I wrote that song with Fig and I did the vocal on it, and Brian did some backgrounds on it. We didn’t work together on it, but Brian’s vocal on it is fantastic. When I heard it, I wasn’t overly surprised because I knew it would be good – but it was extra great. It lifted the song and it was a big thank you. Fantastic. And I like the sound of his vocals there – it sounded like vocals on the Beach Boys album 20/20.

You’ve been touring with Brian since 2013 and sang on his 2015 album No Pier Pressure album. Can you tell us how that came to be?

Joe Thomas was producing it with Brian and he was the one who called me up – probably at Brian’s behest – and asked me to come down and do some singing. Brian hadn’t heard my pitch for a long time – it was basically just to go there and do a little warbling. And then I ended up singing “Sail Away,” or some of the verses anyway.

What was it like seeing Brian again after so many years?

It was cool. And Brian is always, you know, his own person. But with him and I, it’s always been a good meeting, musically and singing-wise. That’s what meetings are all about, you know what I mean? And that’s just fine with me.

And Brian’s such a fan of your voice – he’s said In a few interviews how much he loves it.

Yeah, God bless him, I’ve heard him say that a few times. When I first saw him again after all these years, it’s hard to look at him without seeing his brothers, because I hadn’t seen anybody for a long time. It was different, but it was fun working with him on No Pier Pressure.

Can you tell us anything about Brian that we don’t already know or if there’s anything about him that’s surprised you?

I think he’s just a strong dude, you know? He’s been through a lot and he’s willing to keep going. We’ll see what that means, but he’s a strong guy and he’s got a big heart. That’s all I can say about him. I played through the Pet Sounds tour a few years back and that was a lovely tour. He a good guy and I just expect him to continue to try his hardest. I think that’s what he’d like to do and that’s what I see. 

Your sets on Brian’s shows are big highlights – you’re a true showman. Your voice is still so beautiful and so powerful – and your guitar playing has fans jumping out of their seats. What’s that like?

Well it's surprising sometimes. It feels good when people like you and they let you know when they shout and clap their hands and stomp. That's fantastic. But you know, for me, it's like you’re always nervous before you go on. I don’t know how it's going to be – I don’t know what they’re going to think. I just have to go in front of the microphone and do what I like to do and be as honest as I can and then just put it out there. Hopefully it touches somebody or something, you know what I mean?

We know Brian’s got a European tour set for next year, but what do you have coming up personally?

I’ve got some stuff I’m working on with some friends in Austin, Texas. And there’s an album that I made years ago. I’ll just put it this way – with some people in ’97 that I worked with that are getting it together to come out sometime next year. Then there’s art, which I’m keen about because I’m just having fun with it. If people can see the fun I’m having with it, then great. I’m no brilliant guy. It’s just expression. Just like anybody else out there, putting something out and just, you know, feel positive. And also being honest. Same thing with the music.

Any last words?

Yeah, for the people of Durbs, Melbourne Road flats that remember me, the people of Sydenham, Wentworth Chatsworth. And some of the old “merchants” of Dalton Read and Queen Streets! Send the Shah Jahan – I have not forgotten your support. New CD out next year. I need your support – I will call on you again.

Below: Click or tap to play Blondie singing “Hand On My Shoulder” with harmonies by Brian, from the 2002 album of the same name by Anton Fig.

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