Just Plain Folks

[JPF Home] [Networking] [Mentors] [Member Pages] [Resources] [JPNotes] [Chapters] [RoadTrips] [Music Awards] [About Us]

1. JPNotes: John, you started playing guitar when you were 12, and within 3 years you were playing the blues circuit, in of all places, your hometown of Chicago. What was that like?

John Beland: Playing the lounges in and around Harlem & Cicero Avenue on Chicago's southwest side was a "growing up" experience for a 15 year old in 1963 & 64. The bars could be tough and were frequented by local hoods. However, the band's were generally protected from all that. Most were owned by the mob and they kept tight reins on any serious trouble. The hours were pretty brutal, sometimes last sets didn't finish until 3am. Try explaining that to your parents when you come home! But it was a great training ground, hard core R&B!

2. JPNotes: At 16 you moved cross country to Los Angeles and stepped right out of the frying pan into the fire of the legendary Troubadour Club as the unofficial house guitarist. Tell us about the legends you played with there, and what the Troubadour was really like in that era?

John Beland: The Troubadour in '65 was "ground zero" for singer/songwriters, comedians, musicians, band's, you name it. Primarily the Monday night "Hoots" were the main attraction, as you could get on stage and perform for 15 minutes at a fee of $2.00 The problem was you had to find a place in line as early as 2pm. So kids would just hang out along the sidewalk picking and singing. It was there that a lot of players bonded together. On those HOOT NIGHTS, I played acoustic guitar behind a very young Kris Kristofferson, who had just landed in LA and was sleeping at friend's homes. Just him and I every Monday. I still can remember him showing me his "new songs" like "ME & BOBBY McGEE," "HELP ME MAKE IT THRU THE NIGHT" "FOR THE GOODTIMES" all there in the top floor dingy dressing room hallway. It was there I also saw an unsigned JACKSON BROWNE, STEVE MARTIN, and a brand new band called THE FLYING BURRITO BROTHERS. Lots of memories. It was a "magic time"..hard to explain. An emotional experience for all of us who's careers were launched there.

3. JPNotes: You moved on to gigs like doing the warm up for the hit Glen Campbell television show. What did that entail? And how did you happen to get the gig playing on R.B. Greeve's hit song "Take a letter Maria?" around that time?

John Beland: I was 19 when I got a job at CBS singing for the people in line at The Glen Campbell Goodtime Hour. Larry Murray, who ran the Troubadour hoots, was a staff writer there and got me the gig..along with fellow singer/songwriter Mary McCaslin (who has had a great career in folk music). I was able to meet and become friends with John Hartford ("Gentle On My Mind") as well as Pat Paulsen and Glen's band. We used to take Beatle songs and "bluegrass em up" back stage before showtime. A lot of fun. I also did demos for FOUR STAR MUSIC around the same time. They would pay me $25.00 to play all the instruments and arrange the songs their writers would bring in. One writer was a guy named SONNY CHILDS. He was the nephew of the great SAM COOKE. We worked on 3 of his songs and together we demoed them. A year later Sonny got a record deal and changed his name to R.B. GREAVES. He re-recorded one of those demos we did...turned out to be the biggest single of the year and of his career.."TAKE A LETTER MARIA."

4. JPNotes: You know I have to ask you this next question. Once and for all, for all in Just Plain Folks to hear, you sang on the original theme song for the television show and 70's ICON The Brady Bunch. Please tell us how that came about, how you recorded it, and if you ever, in fact, kissed Marsha, Marsha, Marsha? (Of courth thCindy wath alwath my favorith.)

John Beland: Singing the Brady Bunch theme was a thing that happened on the spur of a moment. The original singers were supposed to be a band called THE PEPPERMINT TROLLEY CO. They had a deal with Paramount but just prior to recording, the band split up! The producer, who owned the rights to the group's name, quickly put together myself, Paul Parish, and the producer's wife Lois Fletcher, and called us THE PEPPERMINT TROLLEY, when in fact we were just studio singers. We did the theme (which I thought was really hokey!!) and were paid $250.00. We never received any further royalties to this day. TV back then didn't pay residuals after the 2nd run of the show. That law was changed a few years later, which was no help for us! I have NEVER seen a complete episode of the show. Although Marsha, Shirley Jones and I did have a drunken threesome one night at The Hyatt House...JUST JOKING!!!!

5. JPNotes: At the end of the 60's, you played with the remaining members of Spanky and Our Gang in their new incarnation "One Man's Family." At the time you were opening for some of the biggest acts of that time including The Byrds, Steppenwolf and the Hollies. Please tell us about that experience?

John Beland: At 20, I joined a group called ONE MAN'S FAMILY..a splinter group of SPANKY & OUR GANG. It was incredible. Talk about pros. We had great 5 part harmonies and the show was fantastic. Through them I met Linda Ronstadt and we became close friends. The group toured the Midwest as opening act for The Hollies, The Byrds (where I met the great Clarence White and began a long friendship). We also based ourselves out of Chicago's OLD TOWN. There we hung out with the cast of 2nd City, Harold Ramis, Brian Doyle Murray, Joe Flarity. They would all go on to achieve superstar status but back then we were all comrades in arms. We rehearsed at 2nd City and sometimes participated in their improvs. Also, we became very close friends with writer STEVIE GOODMAN (CITY OF NEW ORLEANS) and JOHN PRINE. Would be singing every night across the street from our apartment at THE EARL OF OLD TOWN. Another "magic/historic" time.

6. JPNotes: Also at this time, you got to do a session for the late great Gene Vincent. Please tell us about that experience?

John Beland: Prior to his death, Gene Vincent was recording a solo album. Kind of laid back singer/songwriter stuff. I was called to play acoustic. The night before the session I went to a club in the Valley where he was performing. About 20 people were there. When I introduced myself to Gene I was surprised how soft spoken and tired he seemed. It was sad considering his tough guy image. A few weeks later he died of a heart attack. He was a great artist.

7. JPNotes: From there you joined up with the one and only Linda Ronstadt. You formed a band called Swampwater and had great success with Linda and also solo with Swampwater. Tell us what it was like with Linda and Swampwater?

John Beland: Linda Ronstadt. What can I say..I love her very much and will always have a special place in my heart for her. We had such great times together, at a time when her career was just starting to slowly take off. We were all so innocent.
After ONE MANS FAMILY broke up, I headed back to LA and right into a gig with Linda, who had just quit The Stone Pony's. We put together a band featuring myself, Cajun fiddler, writer Gib Guilbeau, Stan Pratt (drums) and Eric White (Clarence's brother) on bass. We called the group Swampwater, as our sound was Cajun rock with Byrdslike harmonies. Later, Eric was replaced by bassist Thad Maxwell (from ONE MANS FAMILY). Together with Linda we played everywhere and with everyone....from The Troubadour to The Greek Theater, The original Grand Ol Opry, The Johnny Cash Show, Dick Cavette Show, The Cellar Door, The Fillmores, etc. We were incredible and you could NOT follow us. Linda was the best and so hot! It was an exciting, riveting period. We even sat in on Neil Young's "HARVEST" sessions on the track "HEART OF GOLD." What a time in music history it was. We cut two LPs with Swampwater.

8. JPNotes: You followed up your time with Linda by working with your friend Arlo Guthrie, yet another legend. What was that experience like?

John Beland: Swampwater left Linda to back up Arlo Guthrie. With Arlo we worked Carnagie Hall and the Hollywood Bowl, where we recorded the TRIBUTE TO WOODY GUTHRIE album, backing up Joan Baez, Pete Seeger, Country Joe McDonald, Ramblin Jack Elliot, and others. The album is in the National Library Of Congress. We also worked with Arlo on CITY OF NEW ORLEANS the day that Steve Goodman brought it to him at The Quiet Nite, in Chicago. Arlo is still a great buddy.

9. JPNotes: One of the most fascinating things I learned about you, is that you were actually signed with the Beatles "Apple Records" after an associate of yours got a tape to Ringo Starr. What was it like to be on the label run by the greatest band of all time?

John Beland: In 1973, I was on tour in England playing behind Johnny Tillotson. The tour included Johnny, Bobby Vee, and Del Shannon. While there, Johnny set me up with his old promo man Tony King, who was now A&R head of the Beatles company, APPLE. On an off day, I met with Tony at Apple where he listened to a demo tape I had been working on in LA. He asked to keep the tape and I continued on tour with Johnny. One morning the phone rang in my Birmingham hotel room. I was half dead with sleep...

"Yea sure.." I shot back..."say hi to John and the boys." I thought it was a joke by our English rhythm section...but then the voice said..

"Wake up mate..this IS Ringo..Tony gave me your tape and I loved it"
Now I'm shaking....holy $%^& it WAS Ringo!!

Of course I said "yes" and a signing meeting was arranged in London at Apple the following week. There I met Ringo, who was a real sweetheart. After signing, they took me to see Paul McCartney and George Martin putting the strings on "MY LOVE" then they held a big signing party at The Beatles private club that night. A few days later in Birmingham, in the middle of Johnny's show, he announced I was a new Apple artist. Bobby, Del and the whole place cheered. It was the most amazing thing that ever happened to me. Due to all the litigation at Apple that followed, the album eventually came out on SCEPTOR RECORDS simply called "JOHN EDWARD BELAND"

10. JPNotes: You hooked up later with Kris Kristofferson at the peak of his career, when he called you and asked you personally to join his band. At that time you hit the road with Kris and his wife Rita Coolidge. You also got to play on some of their recordings. Please tell us what that tour was like, and just how popular Kris was in that era?

John Beland: I hooked up with Kris Kristofferson three times in his career. The first was at The Troubadour when he first hit town and was a total unknown. The second time is when he was opening for Linda & Swampwater at The Troubadour in 1971. His album SILVER TONGUE DEVIL had just been released and a "buzz" was going around town about him. Especially in film circles. At that particular engagement with Linda, Kris didn't really have a band. Just songwriter/guitarist Billy Swan ("I Can Help") and Dennis Lindy ("Burning Love"). No drums. Since I was on the bill anyway, I asked Kris if he would like me to join his band for the week's stay there. He said "sure" and so I backed up both acts that week. One night in particular, Kris brought up a couple of good friends to sit in and sing a couple songs. I had no idea who they were until he introduced them as JOHNNY CASH & JUNE CARTER!!!! Up onstage they hopped as we launched into "Jackson." When the solo came around, Johnny looked me eyeball to eyeball and said "PICK IT LUTHER!!" A reference to his original guitarist Luther Perkins. I almost died!!! I joined Kris a few years later when he had become a household name with his hit "WHY ME." The press called me "Kristofferson's punk kid guitarist." I worked on his album Spooky Lady Sideshow along with Roger McGuinn and Larry Gattlin as well as touring all over the country doing scores of TV shows as well. It was intense and exciting and at times terrifying. I also worked with Rita Coolidge. She was a bit distant but very nice. Worked on her NICE FEELING album. In Kris's show I had a spot where I did a number from my own album. Kris was like that, always ready to promote a band member. What a heart he had. He also had a lot of demons, which is why I eventually left.

11. JPNotes: Once again, you skipped from one flash pan to another by joining the Bellamy Brothers right in the peak of their smash hit "Let your love flow." How was that experience different from your experience with Kris? Also, you got to take an active role in their follow up album. Please tell us about that experience?

John Beland: In '75 I went to work for a new country duo called THE BELLAMY BROTHERS. Back then they were a couple very nice "very green" guys who landed in LA with a monster record "LET YOUR LOVE FLOW." I was called to lead their band..together we went on tour with Fleetwood Mac and Loggins & Messina. The Bellamys were not the greatest showmen. In fact, they stood up there like card board cut outs..(like they still do today) which didn't make their shows very riveting. In the studio they were a bit more aggressive. I worked on their album PLAIN & FANCY. They recorded one of my songs "BOUND TO EXPLODE." The Bellamy's lacked the substance and integrity of Kris Kristofferson. No comparison. When they failed to have a follow up to LOVE FLOW I went off to work with Kim Carnes. I would later rejoin The Bellamy's in 1990 writing their last two national hits."COWBOY BEAT" and "HARD WAY TO MAKE AN EASY LIVING"

12. JPNotes: I read that recording artist Bonnie Tyler once stated that your guitar work was used as inspiration for her own mega hit?

John Beland: I was very flattered that Bonnie Tyler referred to my guitar work on The Bellamy's record "Crossfire" as inspiration for "Its A Heartache." Neat compliment.

13. JPNotes: From Bonnie Tyler to another amazing smash female artist, Kim Carnes. Her song "Bette Davis Eyes" was one of the largest hits of all time when it was out. You played with her on the famous and beloved "Midnight Special," something I grew up watching religiously. What do you remember about that show and that tour?

John Beland: The MIDNIGHT SPECIAL was a great show. Perfect for the times. The audience was a very receptive one, intent on listening and NOT dancing. We had a great band. A few of us in the group went on to very successful careers in studio work. Kim was just wonderful to work for. Her and her husband Dave were real people and I was struck by her total talent and honest personality. I also played on her album SAILING on a song called "CHANGING". I believe I played mandolin. Years later Kim sang on my solo album for Atlantic, as well as my first album with The Burritos , "HEART ON THE LINE." Her and Dave remain dear friends of mine. By the way, the tour I did with Kim was opening for Neil Sedaka, who was hot on a comeback at the time in 1976

14. JPNotes: Another popular mega star at that time was Mac Davis. So of course you went and played a stint with him. This was primarily a state fair type tour, with stops in Vegas. How was it different playing with Davis versus some of the others?

John Beland: Mac Davis was the only act I could not get close to on a personal basis. At the time I went to work for him in 1977, he was very big from his songs like "I Believe In Music," and "Baby Baby Don't Get Hooked On Me" But he also had a huge macho ego that would eventually destroy his own career. There was little doubt about his talent. He wrote some fantastic songs. But by the time he got to Vegas, he had dancers and smoke bombs and all this stuff that totally was a sell out. He was lost in his personality image..in the studio, he was hard to work for and a lot of musicians in Nashville and Muscle Shoals found him a bit of a drag to record for. Mac also had a battle with the bottle that pretty much ended what was a promising career. He's now cleaned up and does bit parts on TV every now and then. But out of all the people I have ever worked with, he was the hardest to figure out.

15. JPNotes: One of the coolest things that came out of your time with Mac Davis was your chance to become close friends with Mac's opening act at the time, a young rising country singer from Nashville, the incomparable Miss Dolly Parton.

John Beland: The saving grace of the Mac Davis gig was my friendship with his opening act, Dolly Parton. Mac and his crew made fun of her rural ways and knocked her music as "dumb country stuff." Ignorant, but typical of the Davis camp. But I didn't. I had already had an extensive career in West Coast country music and loved watching Dolly each night from the back of the halls. I could see where she was heading. Soon we became very close friends and eventually I quit Mac and went to work for her. Dolly and I were very close and perhaps this is the reason I couldn't continue to work for her. Her career suddenly took off like a bat out of hell and she was surrounded by scores of "yes" people and high profile management. I did a ton of gigs with her when "HERE YOU COME AGAIN" took off (leaving Mac and his bunch behind in a cloud of dust). Dolly and I had a very special bond between us which continues to this day. I was flattered when she mentioned me in her autobiography a few years back. One of the greatest human beings I have ever met and I love her dearly.

16. JPNotes: Around this time, your session work was skyrocketing as well. You shared LA session chores with many superstar quality players. Tell us about it?

John Beland: At that time (1978) my session career really took off when I became house guitarist for legendary producer Jimmy Bowen. I had the pleasure to have played beside the top musicians on the studio scene and it was fantastic. To play beside such greats as JIM KELTNER, JEFF BOCCARO, LARRY CARLTON, DAVID PAITCH, LEE SKLAR, JIM GORDON...it helped mold me into the professional player I am today. Bowen recorded a few songs of mine with country artist Thom Bresh that went on to become major country hits for him. Bowen was a master in the studio. Get his book "ROUGH MIX." We recorded every day with everyone. All styles of music from adult contemporary (Anthony Newley) to country (Thom Bresh & Tracy Nelson). Bowen got me a record deal with Atlantic and he produced a solo album on me the next year in Nashville.

17. JPNotes: Your next high profile opportunity came when you were asked to join Rick Nelson's band in 1978. This was particularly exciting for you since you were personally a big Rick Nelson fan. Tell us what it was like to get to work with a personal idol? Also, tell us about your work on his favorite album "Memphis Sessions," arranging his last hit song "Dream Lover," and your appearance with him on Saturday Night Live!

John Beland: Working with Ricky Nelson was the most rewarding time of my career. Rick was my close friend and I loved him. At the time he asked me to play with him he was getting ready to dump The Stone Canyon Band, and return to his roots with a sharp hot rockabilly unit. I was so influenced by Rick that I knew his music better than he did! Not to mention that James Burton was one of my greatest influences on guitar. Together with Rick we did around 280 dates per year..including his famous guest appearance on Saturday Night Live, with Bill Murray, Belushi, Gilda, Dan, and the original cast. I also helped arrange and play on Rick's legendary MEMPHIS SESSIONS which yielded Rick's last chart hit record "DREAM LOVER." Leaving Rick was the hardest thing I had to do but I had an offer I couldn't pass up from a band called THE FLYING BURRITO BROTHERS. Ricky was the greatest!

18. JPNotes: In the early 80's, you got the chance to join the Flying Burrito Brothers. Throughout your on and off time with various incarnations of the band, you have had some amazing successes, including multiple Billboard charting albums and singles, and awards from the likes of Billboard and Record World Magazine. What made you leave Rick and take this chance? And share your favorite experience with the band?

John Beland: When The Flying Burrito Brothers asked me to join, they had no record deal, never had a chart single, and were reduced to playing small hippie bars with an occasional festival thrown in. However, they were still strong in Europe. When I joined I had the band demo a bunch of new country songs I had written. These demos led to a deal with Curb Records and to the album HEARTS ON THE LINE. This album yielded three hit singles, a first in the band's 12 year prior history. A couple members couldn't commit to touring, so the record company and management decided that myself and fellow Burrito Gib Guilbeau should continue on as The Burrito Brothers, considering we were the band's main creative force. We did, and continued on with 9 chart records, earning awards for best vocal group from Record World & Cashbox, as well as Best Crossover Group from Billboard. We did a lot of great things with the Burrito Brothers..one of them was helping to get our hero LEFTY FRIZZELL inducted into the Country Music Hall Of Fame. We recorded with Earl Scruggs, and a whos-who of Nashville's top players. We also relocated to Nashville becoming one of the early west coast acts to do so. we toured the world....From the Grand Ol Opry to London's Wembly Stadium. Shared bills with GEORGE JONES, HANK WILLIAMS JR., THE OAKRIDGE BOYS, JERRY LEE LEWIS, EMMYLOU HARRIS, TAMMY WYNETTE, and many more. In 1986 we broke up and did our final performance on Ralph Emmory's Nashville Now to a standing ovation. Great way to go out!

19. JPNotes: On a tragic note, in 1985, after a stint playing with Nicolette Larson, you made plans to rejoin your friend Rick Nelson in his band, but just prior to you moving from Nashville to join them, he and the band were killed on a New Year's Day plane crash in Texas.

John Beland: After The Burritos broke up I went out with Nicolette Larson. She was a lot of fun not unlike Linda Ronstadt. However, country didn't embrace her and her album stiffed. I also got a call to return with Ricky. I jumped at the chance and prepared to move back to Los Angeles. I would be replacing Bobby Neil who was quitting to go back home. Then came New Year's Day and the crash. It was devastating as I knew everyone on board. In just a few weeks I would have been on that plane as well. Strange how fate works. Not a day goes by when I don't think of Rick and what a wonderful person he was.

20. JPNotes: After the tragic loss, you stayed in Nashville and concentrated on your writing. You scored hits with "Forever You" by The Whites and "Isn't it amazing" by former "Grand Funk Railroad" member Mark Farner. Joe Cocker also recorded one of your songs. But one of the most exciting events came from a session you did for Dewayne Blackwell. You were Blackwell's main session guitarist, along with his demo session vocalist, a then unknown studio vocalist named Garth Brooks. Please, can you tell us the rest of that story!?

John Beland: Yes, after the crash I decided to remain in Nashville and concentrate on my songwriting. I had already scored a national hit with "FOREVER YOU" by The Whites but now I devoted a lot of time to writing and demoing..as well as session work. I teamed up with writer Dewayne Blackwell (I'M MR. BLUE) and arranged all of his sessions. I handled all the music and the singing was handled by a new kid in town from Oklahoma, Garth Brooks. Together with Dewayne and Garth we demoed a cut song of Dewayne's called "I'VE GOT FRIENDS IN LOW PLACES." Later Garth got a deal with Capitol, recorded LOW PLACES and the rest is History. Dewayne gave me his Billboard Award with the inscription 'TO JOHN..FOR ALL YOUR BRILLIANCE ON FRIENDS IN LOW PLACES" I was really flattered, and it hangs in my studio today alongside a big autographed poster of Garth that reads:TO JOHN.. HERES TO THE GOOD OL DAYS WHEN ONLY YOU WOULD PLAY MY TUNES..LOVE YOU PAL & GOD BLESS..GARTH Garth cut a tune of mine and Dewayne's on that first album..however it didn't make the release and is "in the can." It'll come out someday. Meanwhile I had a Gospel hit with Grand Funk singer, Mark Farner called "ISN'T IT AMAZING." It became the #2 Gospel record of the year. I received so many inspirational letters from people who's lives were touched by the song. It made me appreciate the power of music.

21. JPNotes: In an unusual turn, you and your partner wrote the theme song and all the music for an infamous television show. Please share that with the group?

John Beland: Around that time I also wrote along with Gib Guilbeau the Theme for The Morton Downey Jr. Show. Mort was an old friend and former manager (back when I was signed to Apple). The show went on to become the biggest thing in TV that year. Who would have guessed it???

22. JPNotes: In an even stranger story, I read where in 1997, you actually recorded the very first Chinese Country/Pop album in China!

John Beland: A few years later, my partner, Australian rock star BRIAN CADD and I were asked to produce a country pop record on a female artist from China named ZOE. They flew us to the city of Guangzhou where we produced the first country/pop project ever in that country's history. It was an amazing experience. We taught the Chinese how to record acoustic guitars..and other things they had never done before. We were even visited by the family of Chairman MAO! The studio had armed guards and a staff of three engineers who's experience in pop music only dated back to the 1980's. We also incorporated the Chinese instruments along with western guitars. It came out fantastic. Three weeks in China. Hard to describe but unforgettable.

23. JPNotes: Currently, you are living in the beautiful wine country of Northern California. You are back with the Flying Burrito Brothers in full force getting ready to release your new album. Tell us about this album?

John Beland: I'm now living in Yountville, California just 10 minutes north of Napa. We live in the heart of the wine country where we have a 24 track digital studio. Here I continue to write and produce projects ranging from national & regional jingles to mainstream recording projects. Currently, I just finished The Flying Burrito Brothers latest "SONS OF THE GOLDEN WEST" for Grateful Dead Records due out on May 18. I will be hitting the concert trail with the band soon afterwards. This project was great to produce...it afforded me the chance to work & sing with such great artists as ALISON KRAUS, MERLE HAGGARD, THE OAKRIDGE BOYS, DELBERT McCLINTON, SAM BUSH and others. It's the best project the band has ever been involved in!

24. JPNotes: In a career that started in the 60's as a young boy and has already crossed 4 decades, you are about to enter a fifth decade. Still, you told me that you are more on top of your game than ever. Clearly you have been blessed with an amazing set of life experiences (nearly Forest Gump like!) and your amazing talent is evident simply by the company you have kept. Through it all, and into the future, what has it all meant to you? What have you learned from the experience and combined wisdom of some of the greatest characters in the history of American music? And what is in store for John Beland in the 21st Century?

John Beland: On July 24th, I'll turn 50. It doesn't feel like 50 should feel. I mean I still have the same spirit I had when I was a kid first starting in L.A. so many years ago. I truly feel blessed to have participated in a style of music that has influenced a whole new generation of country/rock musicians. Furthermore, I'm also blessed to have been given the gift of songwriting. To be able to express my innermost feelings & passion thru song and to be lucky enough to have had those songs hit the charts and effect people throughout the world. I can't tell you of the wonderful letters I receive from people who have heard a song or two of mine and how it touched their hearts which is where I write from. To have that kind of an outlet, to touch another's life thru your music, transcends just hearing it on the radio. It's truly a miracle. And its a blessing that keeps one forever young and preserves that spirit we all had in our youth when we heard our first rock & roll record on the radio.

My only goal, as we enter 2000, is to continue that spirit and never take it for granted. I'm thankful to have been a part of musical history and to have created a body of work that my children and theirs will be able to keep for themselves. Songwriting gives us a crack at immortality and not many get that chance. For that you could say "Yea...he's blessed."