Singer/songwriter Deborah Bonham talks to Jason Barnard about her new album with Bonham-Bullick, her musical career and forthcoming live dates.
Hi Deborah – congratulations on producing an excellent album, which really works as a whole. What was the process for choosing the songs?
Thank you so much Jason! I wanted to pick songs that would resonate, that we could identify with, that we could do our interpretation of and bring the best of us to it. I also didn’t want to do just the classics, I wanted to dig deep and find obscure but incredible songs. A few friends were integral to finding the songs with me, our friend in New Jersey Gary Nesbit, our dear friend Robert Plant, front of house engineer and tour manager Roy Williams (who sadly passed April 2020 before the album was finished). I then sifted through all the songs we had amassed and picked the ones I knew me and the band could do justice to whilst holding total respect for the original.
The first single is the Albert King classic “Can’t You See What You’re Doing to Me” which was also on last year’s limited edition signed “See You Again” EP. That release raised funds for the Teenage Cancer Trust. Could you tell me about how you got involved with the great charity?
It started when we decided to create the bronze memorial to my brother John in our home town of Redditch Worcestershire. We actually raised more than treble the amount of money needed to make the bronze with the incredible sculptor Mark Richards. There was me, Pete, Robert Plant and our dear friend Roy Williams involved in the whole design and process. One thing that always bothered me and Robert is that John wouldn’t have just wanted a big bronze statue costing fortunes dedicated to him, he would have wanted it to have some philanthropic angle especially anything to do with children being such a family man. Robert had been involved with Teenage Cancer Trust whose Patron is Roger Daltrey of The Who. Pete and I unbeknownst to Robert had a long time friendship with Angie Jenkison, Music Relations Manager at Teenage Cancer Trust so it was serendipity. The work they do is just incredible.
Pete, Robert, Roy and myself went to one of the hospitals in Birmingham and saw it first hand. The problem we have in the UK is that there are children’s wards and then there are adult wards in the hospitals, so if you are a teenager with cancer you can end up being in a ward with baby mobiles over the beds or next to someone in the adult ward that has dementia. Teenage Cancer Trust make it about the teenager and all that entails first and the cancer 2nd, whilst still providing the best of oncologists and specialist nurses to deal with the disease. The wards are really cool with music room, computer room etc and they are not alone – they are with other teenagers so that they can ‘be’ teenagers whilst being cared for clinically at the best level. I wont say it wasn’t harrowing going into the ward and meeting some teens suffering this heinous disease. I found it very difficult and had to step out a few times so that they didn’t see me cry. But Robert and Pete were amazing and ended up playing music with one boy who loved the guitar but the chemo was affecting his fingers, so Robert suggested to Pete that he showed him the DADGAD open tuning then Pete showed him how to play some improvisional tunes. The lad was thrilled and I’m so pleased to say his Mom contacted us recently to say he had gone into remission which was just wonderful. What also struck me was the dedication of the nurses – they were just second to none and were more like friends to the teens – offering support for teenage issues also. What an amazing charity, so very worthy of the money we were able to give them and continue to try to raise for them. On the back of John’s memorial there is an inscription that says:
This tribute has been made possible by funds raised from friends and family. Additional monies raised help support Teenage Cancer Trust’s vital services across the West Midlands in memory of John Bonham 2018. We wanted to create a lasting legacy for John and I think we’ve achieved that. I think he’d be over the moon to know that his legacy, apart from being considered the most influential innovative rock drummer of our time, is supporting teenagers with cancer.
Do you have a clear idea of how you want to arrange a song before you go into the studio?
On all our original albums yes, but on this one not really. It was a case of us all getting together and seeing if they worked. It was a real challege and we had to dig deep because we couldn’t just do a straight copy. The originals are some of the most iconic songs of all time so we had to find a way and an arrangement to bring ‘us’ to it organically whilst all time keeping that respect for the original.
Was it a quick process recording at Peter Gabriel’s Real World Studios?
We only mixed at Real World with the amazing Tim Oliver. The whole process was amazing, we were totally on the same page so for me it felt effortless because Tim got the music and got exactly where we wanted to take it and the sound we were looking for. I can honestly say that part of the whole production was a joy.
When did you first meet and play with Peter?
I met Pete at a wedding – I knew the groom, he knew the bride and he was in the band playing at the wedding – the band had offered to play as a wedding gift. They were a feel good rock blues covers band playing everything from Georgia Satellites to Tom Petty and The Everly Brothers! I joined them for a couple of numbers and that was it, we’ve been together ever since.
How has your music evolved?
Yes definitely our music has evolved just as we have as people, and I’ve wanted it to evolve. I didn’t just want to stand still, each album needs to stretch you and this new one certainly did that. It’s the first time I’ve fully produced also and that just made sense to me as no one knows this band like I do, what it’s capable of. We’ve all been together for so many years so I know exactly how far they can go, how far I can push.
How have you and the group been in the pandemic?
We missed each other desperately. We missed playing live. But it’s been the same for everyone. At least we’ve all been well in as far as health is concerned so we’re all quite pragmatic – we just had to get on with it. I’ve got rescued animals that take my time and I also started growing vegetables as did our bass player Ian Rowley – we had a virtual courgette competition! But as soon as restrictions were lifted a little and you could have 6 people at your house – we built an outside bar and the guys came down. It was fantastic!
What was it like growing up in such a musical family?
A total privilege. To be exposed to that much great music from such an early age was just amazing. They were all amazing human beings also that I loved, love with all my heart. Both brothers John and Michael have passed as have my Mom and Dad but the memories are still there.
When did you first know you could sing? Who has influenced your singing style?
I’ve always sung but I guess it was whilst I was at school I started doing opera but blues soul rock was always in my soul. So many have influenced me but of course I saw Zeppelin at such an early age so it would be crazy not to say that Robert Plant has been a huge influence. I think as I started to grow and started listening to motown then Otis Redding, Al Green, Sam Cooke, Levi Stubbs, Etta James, Aretha Franklin, then singers such as Paul Rodgers, Steve Marriott, Janis Joplin, Stevie Nicks, Ann Wilson, Joni Mitchel….. the list goes on…but definitely Robert from an early age.
Was it difficult to establish yourself as a solo artist and how have you managed to navigate such a tough industry?
Yes, very difficult. It’s a huge weight to carry being John Bonham’s sister – it brought with it certain expectations from people. But I decided to stick with it, there was no point changing the name as it would always come out and at the end of the day it was my name, and a name that John had made so famous that I needed to do proud. There was no point being half hearted about it. I’ve turned down so many offers for ‘Led Zeppelin’ type projects recorded and live. That’s not what I’m about, I’ve always just wanted to do my thing and I’ve been so fortunate to play with this incredible band of Pete Bullick guitars, Gerard Louis Keyboards, Richard Newman drums and Ian Rowley bass. They mean it. And that’s the thing – it’s got to come from the heart, the soul and with a passion because if you don’t believe it, you don’t have a cat in hell’s change of convincing anyone else.
You’re also known as a great songwriter – what are your favourite original songs and why?
I think No Angel from The Old Hyde album is one of my favourites. I chanelled a bit of Otis when writing this and it’s such a show stopper live, it never fails to engross the audience. For years no one ever picked up on the Otis vibe until we toured with Nazareth and both Dan McCafferty and Pete Agnew from the band were standing at the side of the stage when we performed it and after told me that they totally loved the ‘otis’ vibe.
You and Peter are known for being brilliant live performers. What have been your highlights on the stage?
There’s so many it’s difficult to definitively say. We’ve been so honoured to share the stage with our heroes… Paul Rodgers, Robert Plant, Brian Johnson, Peter Frampton, Dan McCafferty, Donovan, Van Halen, Ann Peebles, Van Morrison – it’s all been amazing in fact sometimes I have to pinch myself when recounting this stuff. What a ride!
What are your plans to play live and what should we expect with your show?
We start in the UK and Europe from April 6th 2022 and praying for USA late fall as and when restrictions lift. Our show – it’s powerful, it’s exciting, and we mean it. I can’t wait!
