Norda Mullen (credit: Norda Mullen)
Norda Mullen played flute with The Moody Blues touring band from 2003, taking on the “Nights in White Satin” solo after Ray Thomas stepped back from the road. Her new EP, Lemonade, pairs two original songs with a live recording of that same solo, the one she first worked out by ear as a child and later took on herself on stage. Jason Barnard spoke to Norda about the EP, her memories of Ray Thomas, growing up in Tennessee and Mississippi and the life she’s since built in London.
The title track of the Lemonade EP seems quite reflective, can you tell me about the inspiration behind “Lemonade”?
I believe like most all of my songs, I speak of both sides of the coin … the scary parts of the world and life, combined with the eternal optimism and gratitude that I constantly try to hang on to, because life is such an amazing and miraculous privilege.
You live in Richmond upon Thames now, a long way from the United States. Does distance from where you grew up change what you write about, or bring you back to it?
That’s a great question. Another song that my husband, Kelvin Cheatle, and I co-wrote is called ‘Home’. Those lyrics do end up comparing my life growing up in the southern United States as a child, and my life now in London. I can’t help but always hold those comparisons in my mind, because you can leave the place where you grew up, but that place never really leaves you.
The EP pairs two new songs with a live recording of “Nights in White Satin.” What made you want to put a live cut of that piece alongside original material rather than saving it for a separate live release?
Also, a very good question … maybe I’ll put it on a separate live release as well!
Ray Thomas played that solo for decades before you did, and you’ve said he later introduced you to your husband. What are your memories of Ray and what do you think he’d make of your live version?
I feel very honoured to have met, and spent time with, Ray.
He was very gentle, and yet powerful at the same time … not to mention so witty and talented. I would have no way of knowing what he’d think of my flute rendition of ‘Nights’. Before he passed away, he came to a few of my London shows, but I don’t think I was doing my ‘Nights’ rendition at that time.
I do know he gave me his blessings when I played that solo with the Moodys. He was always very positive and complimentary. I can only hope he’d enjoy my live version, at least on some level. Fingers crossed!
You wrote both words and music for “Live For Today.” How does your songwriting process differ when you’re writing lyrics and melody yourself, compared to interpreting someone else’s material on flute?
For me, those are two completely different processes. When I write and record my own music, it feels very close and personal. There’s a vulnerability for me there.
When interpreting ’Nights’ on the flute, I approach it more from a flautist’s point of view. I’m taking a melody that I’ve heard and played too many times to count, and I’m putting my musical feelings onto that already existing canvas called ‘Nights in White Satin’ that we all know and love.
Maybe it’s my musical take on the privilege and feelings I felt regarding playing that solo for so many years onstage, alongside the band and the very person that wrote it.
This EP follows “Down to the River” in 2023 and “Say It Anyway” in 2021. Do you think of these as one continuous body of work, or does each song stand apart for you?
Each stands apart because different things were happening when I wrote each of those songs.
‘Say It Anyway’ was written during lockdown … many things were happening at once for me. I was actually having a tough time, and the song really reflects that. I was bored, sad, scared, and many other things. The Moody Blues were no longer touring, the world was upside down with Covid, the streets were empty, the politicians were saying ‘Stay home, go out, stay home again’ and on and on. It was just a strange time.
‘Down to the River’ was more my husband’s inspiration when Queen Elizabeth II died in 2022.
He saw all the people queuing down by the river in central London to pay their respects to the queen, and he was extremely touched by that.
You grew up in Tennessee and Mississippi, one of six children, all of you artistic in different directions. Tell me about your childhood – what was playing on the stereo at home?
My childhood was musically amazing for many reasons. My maternal grandparents both played instruments … my grandmother played everything on the piano in the ragtime style, whether is was ‘jingle bells’ or something sombre, it had to be ragtime!
My grandfather played the organ with that wonderful Hammond B3 sound, which is why I add that to a lot of my songs … I’ve just always loved that organ sound.
My mother was Greek. She played the mandolin as well as the violin. My siblings all played instruments … piano, flute and guitar. My aunt and cousins played the marimba, of all things!
On the stereo??? Ahhh … the greatest memories were there. I grew up during the Vietnam War (60’s and 70’s), in the southern US. With five older siblings. My brother was the perfect age for being drafted, as were all of his friends. Woodstock was happening, along with protests everywhere, Kent State, the moon landing, and all of the things that represented that time. It was an incredible time to be coming of age, and all of it had a huge influence on me.
The music at that time was absolutely other worldly. We had the Rolling Stones, the Beatles, Bob Dylan, the Supremes, the Who, the Moody Blues, Procol Harum, Arlo Guthrie, Cat Stephens, Carol King, Joni Mitchell, Jimi Hendrix, Stevie Wonder, Randy Newman, and on and on … all blasting at full volume in the living room.
My brother ended up never getting drafted, but many of his friends did, and they either didn’t come home or were never the same.
What did that classical training give you that a self-taught player wouldn’t have had, once you were standing on a rock stage?
My classical training really prepared me for what was to come with the Moody’s. I had done so much high stress classical work previously on the flute (recording sessions for TV commercials and movies, as well as playing with orchestras), that musically nothing was too challenging for me. It was more navigating the rock scene, trying not to get influenced by the whole aspect of being onstage nightly in front of so many people who really were missing Ray Thomas! Those were big shoes to fill, but I decided early on that I can only be me and do the best job I can. Once I got past that hurdle, it was simply a fantastic gig to have! It fit like a glove.
Randy Newman brought you into the film world and introduced you to composers and studios around LA. What’s the best piece of advice he ever gave you, about session work or about music generally? It’s funny … Randy is such a humble guy, he’s not one for flinging around too much advice. It’s more that he urged me to simply play well, keep cool and confident, and basically don’t take anything personally. The music business is a tough one to navigate for sure, and not taking things personally is key.
What led you to join The Moody Blues and what are your reflections on that period?
I was freelancing in LA in the 80’s and 90’s, and I believe in 1996 Justin Hayward asked our agent, Robert Norman, to find a flute player who could do his southern California solo tour. Robert searched around with various contractors and somehow found my name. That worked out well and Justin’s tour was a blast.
Fast forward to the end of 2002 when Ray retired. That’s when they found me again (lucky me), and asked me to join them on a tour that started at the beginning of March, 2003.
It was such a wonderful experience to tour with them until they stopped in 2018. It basically changed my life on so many levels. But as a musician, especially as a flautist, I will feel forever grateful to have had that particular opportunity.
It’s not everyday that a flautist gets a call to play in a legendary rock band. Lucky me again …
What do you remember most about playing at the 2018 Hall of Fame induction of The Moody Blues?
Well again, I stood up there that night and thought to myself ‘I wonder how many flute players have played on this stage for the Rock and Roll Hall of Fame?’ I’m not at all sure of the answer, but it certainly was a thrilling night. The funny thing about it was … the night wasn’t about me at all, but it was still one of the biggest thrills of my lifetime. And I was so proud of the guys! They certainly deserved it, and it was long overdue. I felt so fortunate to witness that.
After decades of touring and session work, what does a good day of making music look like for you now?
Now I enjoy being in London, writing, recording, and performing my own music with my own (ever changing!) band.
However, I’m not above going out on the road again with any other legendary band that may need a flautist!!! You just never know in this life.
What comes after Lemonade? Is there a full album forming, or are you working single by single for now?
I seem to go single by single for now, and then when there’s enough, I’ll put them all on an album!! I just love the process!
