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David Nathan Interview
David Nathan: Well, I am delighted and thrilled and very happy to welcome today to a lady who I have known for several decades [laughs]. There’s no point in us pretending we haven’t known each other for several decades, because we have. We first met when she came to the U.K.—actually, not as soon as she got to the U.K., but certainly sometime shortly thereafter. We were actually introduced, if my memory serves me well, by a great friend of ours who is no longer with us, the late Doris Troy of “Just One Look” fame. Through all those decades we have maintained—which I would say in this day and age is quite unusual—an association and a friendship and a relationship through all these decades. We’ve both been in different places; lived in different places, and this is actually our first official, full, in-depth interview, as she reminded me, to my surprise, actually. So I’m really, really happy today to be doing an in-depth conversation with the great PP Arnold. Welcome, PP Arnold.

PP Arnold: Oh, thank you, David. I’m so excited about this, because it’s true; we’ve known each other forever [laughs].

DN: True—true, true, true.

PA: Forever, and… through the ups and the downs and the ins and the outs—

DN: This is true.

PA: —the all-arounds. And now we’re full circle. It’s great to be here in London on this Sunday morning having this conversation with you.

DN: Well, great. I want to start, not at the place most people would start with this interview, which would be at the beginning, but I actually want to start with what you’re up to right now, because I would say one of the events that precipitated us doing this now rather than any other time is the fact that… I’m going to call, for the purposes of this interview, because I don’t want to keep calling you PP [laughs…I am of course going to call you Pat…because Pat is about to begin a U.K. tour, which we’ll ask her to tell us more about. She also has just launched her new Web site, with many different opportunities to hear music; buy music... and so we’re going to start there and then we’re going to go back to, I guess, the beginnings of your association with the U.K. It may be a little bit before that, for those who are not familiar with your long and illustrious career. Because you know, everyone can’t say that they’ve been in the business for as long as you have and are still here, still making music and still performing, which is truly a blessing. So let’s talk about your upcoming tour and your performing activities in the U.K. and beyond. So what will you be doing?

PA: Well, it is truly a blessing to still be here and still be out here keeping the vibe alive. And yeah, I’m here. I’m really excited about a short tour that I’m doing—the first of many to come—but it starts in October, and I’m being backed by a fantastic band, Digby Fairweather and his Half Dozen. And I’m just really, really, really excited about this. I have a set that’s gonna include all the pop and rock classics, and the R&B and the blues, and I’m going to stretch out and do a bit of jazz with Digby and his great jazz band. And they’re real excited about doing all the classic R&B and rock things with me. The band’s fantastic; rehearsals are going great. The tour actually starts on Wednesday the 6th of October. We’re actually doing a preview, just sort of a preview gig, at a pub in Sevenoaks called the Woodman. It’s just like an opening gig, a warm-up gig for the first date of the tour, which is taking place at the Pigalle Club in Piccadilly, and that’s on the 9th of October. From there we go to Brighton to the Theatre Royal, that’s on the 13th of October. On the 15th of October I’ll be at the Playhouse Norwich. On the 22nd of October I’ll be at the Courtyard Hereford. On the 23rd of October I’ll be at the Playhouse Weston-super-Mare. On the 24th; the Victoria Hall, Stoke-on-Trent. Then we return south on the 26th of October, and I’ll be at the Beck Theatre in Hayes, Middlesex.

DN: Okay.

PA: So yeah, so I’m really excited about doing my own solo tour. I toured last year with Gino Washington and Jimmy James; we did a great soul tour. And for those of you who want to check out some of the highlights of that tour, I’ve got a lot of live video from that tour at my new upgraded Web site, So go on there and check out all the latest news; all lots of live video; I’ve got a store there. I’m doing downloads of some music, an independent project that I did, an independent production that I did with Chaz Jankel. For all of you who are aware of Ian Drury and the Blockheads…well, Chaz was the main guitar player. The Blockheads are just a great band, but Chaz wrote all those great songs with Ian Drury. We got together in the mid-nineties and recorded some music together, and so that music is now available, unreleased productions, on my Web site. You can download the music, and I’m really excited about that because this is some music that both Chaz and I really put a lot of love and a lot of heart into. At the time, the industry said it wasn’t commercial, but you know I still don’t know what commercial is after being in the business all these years [laughs]. I know that mainly, commercial is when people hear you on the radio. But if the record companies don’t like the music, you know, the fans don’t get a chance to hear you on the radio [laughs].

DN: This is true; this is true. Well, thank you for sharing all that information. And of course, when the interview is published, that will also be in written form as well as audio form, so people will actually be able to see all of the information you just gave us, because of the dates and so on. But one of the things that struck me about what you were sharing, particularly the last part, is how you have—and I want to be kind to some of your peers - but unlike some of your peers, you have definitely embraced new technology and obviously realized and recognized that there are many ways for an independent artist to be successful using today’s technology. So would you just like to comment on that and how that evolved for you?

PA: Well, it evolved for me from just going through the whole procedure of recording music—recording independent—getting into independent production many years ago, really. I first started doing independent productions way back in the seventies, and those recordings will be available soon as well. So I’m looking forward to sharing all of that music, because a lot of people think that I just haven’t been an active artist since the sixties. Because a lot of the music that I’ve been recording in different periods, in particularly, the seventies, I think it was a little ahead of the time [laughs] because I was doing a lot of… sort of… my music, it was still very soulful, because I was a soul singer, and a soul singer has a lot to do with telling the truth. And I think, at the time, I was writing about things—spiritual things—that maybe the industry wasn’t ready for. And yeah, maybe I was getting a little bit political [laughs]—or something. You know, I was just, like, trying to tell the truth. And as a female artist, you know—you’re always, like, put in a box. You know? They want to see you… they want to see you being sexy and all of that. And you know, I’m all of that as well [laughs]. So I started producing music that the industry didn’t think was commercial.

This kind of like helped me back, because I have been active and I have been writing. There’s also been that thing about different companies in the past weren’t really interested in… me being a songwriter, because they wanted me to sing their songwriters’ songs.

DN: Yes.

PA: And so my songwriting wasn’t encouraged, but I still kept writing just the same. And then I went through a lot of changes. I had the worst tragedy, the worst thing that could ever happen to a mother: I lost my daughter in the seventies. And so that kind of kept me out of the music industry for a while. I wasn’t really interested in the music industry at that time, I was…focusing on that. That devastation. But anyway, I came back to England in the mid-eighties and did Starlight Express, and I had a record deal with Ten Records, and when I came back in the eighties, there was now a black music scene in England—that there wasn’t before in the sixties. So then I kind of got caught up in that. Suddenly. When I was around in the sixties, it was like, music: it was just pop music and rock music and it wasn’t that sort of separation—that sort of race separation wasn’t happening here then. Then when I came back in the eighties, that was happening. So nobody knew what to do with me, because I’m black, you know [laughs], but before I’d been on a rock scene then suddenly I was put in the British black music scene.

DN: Yes.

PA: Which really kind of kept me locked up for a bit, because I’m an American.

DN: Right.

PA: I’ve lived in England from the sixties. As you mentioned before, Doris Troy, Madeline Bell and Jimi Hendrix, and all of us, we came over here in the sixties and we really pioneered black music made in England, really.

DN: Yes.

PA: I mean, there were a few artists around, we weren’t the only ones. Of course, Millie (Small) was here before me; the Foundations were here. But there wasn’t really a black music scene at that time. Anyway, I don’t want to focus on that ’cause that’s all in the past. And now, thankfully, it seems like we have all this technology, so artists like myself—who have survived all of these different challenges that artists have to go through to survive in the music industry—we now have this technology that allows us to promote and market ourselves regardless of whether or not the record companies think that we’re commercial, or think that we’re over the age of being able to sing—which I never understand, because you know—as a singer, you develop in time. It’s like fine wine—you mature with age.

DN: Yes.

PA: So vocally, I like to think that that’s happened with me, because I take singing very seriously and I work very hard on keeping my voice in tiptop shape and everything. So, yeah! I’m so excited about being out here and singing, and being able to have such a large repertoire of music to share with the people [laughs].

DN: Well, for the benefit of those who will be checking this interview … because a lot of our visitors, of course, at Soul are in the United States—[and] may not be completely familiar with the early part of your history, I want to focus on certain parts since then so we can come back up to today. So just share with us about how you actually first got into the music industry, at the very start.


PA: [laughing] Okay. All right. Well, I’ve been a singer all my life. I grew up singing in the church from the time I was four years old. And ‘a day in the life’ just sort of brought me into the music industry, because I had never even thought about it, in my wildest dreams, about singing professionally and being in show business or any of that. But ‘a day in the life’ changed my life, I ended up at Ike and Tina Turner’s house one Sunday afternoon [laughs], with a couple of girlfriends of mine—Miss Gloria Scott, whom you know—

DN: Absolutely, absolutely. Yeah.

PA: And Maxine Smith. Gloria and Maxine had this audition to be Ikettes. And the girl that was supposed to go with them to the audition let them down at the last minute. So Maxine Smith was an ex-girlfriend of my brother, and she knew that I could sing, and they were desperate, right? So they called me [laughs]. They called me and asked me if I would just go with them to help get them the gig. Gloria actually knew about the gig because she was already singing with a set of Ikettes—Ike and Tina had two sets of Ikettes: they had a set of Ikettes that they took out on the road with them, and then they had another set of Ikettes that went on the road with Dick Clark and did the Dick Clark tours.

Gloria was in the set that did the Dick Clark tours, so she knew that the other girls—Vanetta Fields and Robbie Montgomery—those girls,she knew that they were leaving. So she wanted that gig with Ike and Tina. Anyway, I end up in Ike and Tina Turner’s living room doing some backgrounds to Gloria singing “Dancing in the Streets”—

DN: [Laughs]

PA: —and whatever else she did. I was, like, making up stuff in the background…Then, when we finished doing our little audition, well, Tina was just like… oh, she just loved us. She goes, “Well, girls, you got the gig.” And I’m going, “Oh, no, not me. Not me. I can’t go.” Because I mean, my life was already complicated. I had been in a teen marriage—a very abusive teen marriage. I was only seventeen, but I already had two young children. And so there was no way. I couldn’t, in my wildest dreams, think about going on the road with Ike and Tina Turner. But that Sunday morning I had prayed very hard to the Lord to help me find a way out the hell that I had found myself in, in this abusive marriage. So I said to Tina, “Oh, no, not me. There’s no way I could do this. My husband is not going to… I’m not even supposed to be here, I’m going to be in big trouble when I get home.” And so Tina said to me, she said, “Well, if you’re going to get in trouble for nothing, why don’t you come ride up to us in Fresno [laughs]—and see the show?” Well, any other day I would never have. No, not in a million years would I have disobeyed my husband and faced his wrath. But this particular day I thought it made sense.

So I went with Ike and Tina up to Fresno with Maxine and Gloria, just to have a look at the show, and of course my mind was blown… I had left home at eleven o’clock in the morning and it was about six o’clock in the morning when I put my key in my door to face his wrath. And this time when I faced his wrath I realized, ‘Wow, I have a way, I have a way out of this.’ What a difference a day makes. Twenty-four hours before I didn’t know how I was going to get out of this situation, and then suddenly I had a way out. So… okay, so that’s how I started singing with Ike and Tina Turner. I went and begged my mom and dad to help me and look after my kids and give me this opportunity, … they weren’t that okay with it, because I come from, like, a gospel background, and show business and all of that is like secular music.

DN: Yes.

PA: But they really, really, felt for me, because I had been a real honour roll student before I listened to my husband and let him talk me into ditching school that day that resulted in a teen pregnancy [laughs]. And I’d been through hell, so anyway, so that’s it.

DN: Okay.

PA: And I went on the road with Ike and Tina Turner and I sang with them for two years. The first tour, I went out with Gloria and Maxine—and all of us, were just shocked that, you know, the circumstances that were going on out there between Ike and Tina; the whole domestic scene and everything. And Ike was a really hard taskmaster, but still, it was a great gig, and worth doing it to go out and cut your teeth on, you know what I mean?

DN: Sure, sure.

PA: In show business, to be out there with Tina Turner as my first great influence—and Ike as well. That band, Ike Turner and the Kings of Rhythm: I mean, what a hot band. I mean, we are talking about a bandstand that would be burning up every night [laughs].

DN: Right, right, right.

PA: You know. So I toured with them. Maxine and Gloria left after the first tour ’cause they weren’t getting on well with—none of us were getting on—with Ike. But I’d already jumped into the sea and I couldn’t really leave the Revue like they could. They were free, and I had joined that Revue to give me a way to look after my kids—and support my kids, and get out of this situation. So I stayed, and I think it was a good thing I did, because one night in a club we used to play in on Sunset Strip called the Galaxy, we had some very famous visitors: Charlie Watts and Bill Wyman showed up at the gig. And that night we found out that we would be going to England to support the Rolling Stones. It was the first night that the band knew about it; Ike and Tina knew it was all happening.

So yeah, suddenly, wow, the next tour that we went out on [would be in England]… because we used to go out on tours and play what was known as the Chitlin Circuit in those days. And the Chitlin Circuit was like a string of soul clubs—and some of them weren’t even clubs. Sometimes we’d be playing in barns, and they’d take the little wooden chairs out of the church house and put ’em in the barn, and we’d be playin’ in there. And you know, we did all of that: the Chitlin Circuit and all the east coast theatre tours and everything. We came to London to tour with the Rolling Stones in 1966, and that’s when the next phase began.

DN: Now… and, of course, unlike your fellow Ikettes, you stayed [laughs] in London.

PA: I stayed, because I just had a ball. And lucky for me as well, I had caught my trumpet-player boyfriend messing around with somebody in New York, so when I landed in London I was a free soul.

DN: [Laughs] Okay.

PA: [Laughs] Free, okay? I was free in sixties’ London, with all that that was—all the revolution that was taking place there: music revolution, fashion revolution, just everything, the whole rock’n’roll/pop music revolution. And what better place to come than to England, doing a tour with the Rolling Stones?


DN: Right.

PA: And so I became very friendly with Mick Jagger. We were mates. And Mick and his then-manager—Andrew Oldham, who had just started one of the first independent record labels in England, Immediate Records—they invited me to stay in England and be a solo artist. So that was next sort of unexpected ‘day in the life’….I never even dreamed of being a solo artist.

DN: Sure. Now tell us how the… there’s a song that is going to be forever associated with you—no matter what you do— you can lay claim to being the original recording artist.

PA: [Laughs] “The First Cut Is the Deepest”. And I just love that. I love that. Out of all the versions that I have ever heard after mine, I can truly say that the first cut is the deepest [laughs].

DN: Just so we know: how did the song come to you? I mean, do you remember the circumstances of it?

PA: Well, yeah, sure. I mean, like I said, I was invited to stay in London and record with the Immediate label, and Andrew Oldham and Tony Calder were managing me. And so yeah, I called my mom once again, and we just sort of said, well, I would stay, and if in six months nothing happened I would come home. And in six months, if things worked out, I would come home and get my kids and bring them back to England. I had had a lot of problems with Ike while I was in London, because Ike had no control over me. And I was having a ball in London hanging out with the Stones and everybody. I mean, these things would not have happened to me in America, because there is no way, back in those days, I could have been riding around in limos with the Rolling Stones [laughs]—in the whole sort of race atmosphere of America without people thinking that untoward things were happening. You know?

DN: Sure, sure.

PA: So it was great. Andrew and Tony, we decided I would stay, and Mick was going to produce half my album and Andrew was producing the other half. Andrew and Mick encouraged me to write my own tunes, which is the first time I’d wrote [sic] songs. And I have… “Treat Me Like a Lady”, “Am I Still Dreaming” and “Though It Hurts Me Badly” were the first songs that I wrote that Mick produced. All the things that Mick produced were my original compositions. Andrew was in charge of doing the production part, so he brought in Mike Hurst, who was also connected with Cat Stevens. There was just so much going on, on that little New Oxford Street block, there: we had Immediate Records; you had Dick James Music; and right around the corner from the office, Cat Stevens’ father had a restaurant—a Greek restaurant—he had a fantastic apartment right on top of that. So we were mates. He had this song that was presented to me which was perfect, because it just encapsulated everything that I was [dealing with] at the time: coming out of this abusive teen marriage and the pain from all of that, and having the courage to get out of that, and try to create a life for me and my kids. So you know, what a blessing—what a blessing to have got [sic] that song, that like you say, will be a classic forever. And I never tire of singing it or expressing it. I just feel… I just have such a heart for that song every time I sing it. It touches my soul, too, so…

DN: Right. And I guess you could have had no idea that it would last as long as it has as a song that is truly, as you said, a classic—a pop classic.

PA: Well, you know, it’s just a pop classic. I had no idea … I don’t think any of us [did]…. [Immediate] was a great label - you had the Small Faces on that label; you had Fleetwood Mac. My backing band at the time was The Nice. Keith Emerson was my MD, putting my first band together, and so I called them The Nice—and so that was The Nice with Keith Emerson and Lee Jackson. And sit was just great. I had a few bands before The Nice, but we put The Nice together because they were looking for more of an edge for me. Because I was on the road… I took over… remember Ronnie Jones?

DN: No.

PA: Ronnie Jones was an American soul singer that was in England—who had come to England and had been in the air force. He stayed in England and had a band called the Blue Jays. So Ronnie left and went to Italy to live, and so I inherited the Blue Jays. So the Blue Jays were my first band, and that was like a soul band, and I just went out doing covers. Aretha’s my idol. But everybody… somebody just put the flyers out for this tour and said, “The return of the Queen of Soul, PP Arnold.” And I was so upset about that, because hey, man—Aretha is the queen, okay [laughs]?

DN: [Laughs]

PA: Aretha is and always has been the Queen of Soul. I’m quite happy with being referred to as the First Lady of Soul [laughs]. So for anybody who’s seen that and thinks that’s my ego out there—it has nothing to do with me [laughs].

DN: I gotcha. Now, just to complete that particular period, of course the other song that you are absolutely associated with—and again, another pop classic—is “Angel of the Morning”. Now I don’t know, so you have to tell me, because I apologize for not knowing this—but were you the first person to record that song?

PA: No, I wasn’t, I don’t think I was the first person. I think an American artist named Merrilee Rush—

DN: Okay, yes. Correct, correct—absolutely correct. Yes.

PA: She had a hit in America, but I covered it in England. And when I covered it in England, there was also another artist called Billie Davis—and Billie is still around, I think—she also recorded “Angel of the Morning”, so it was a big competition as to whose version was gonna make it in the charts. And I remember, I went on Top of the Pops; they sent me the hairdressers at Leonard’s. And I had all this makeup with the whole Kafunta image as this African angel. And of course [laughing] we got on TV on Top of the Pops to do it with all this coloured hair and this Kafunta image, but forgetting that it was in black and white!

DN: [Laughs]

PA: [Laughs] And there I was, the black angel in all this hair and ostrich feathers and eyelashes… it was great. And so anyway, my version won, so people do remember my version. Billie’s version was nice as well, but… sorry, Billie [laughs]. I think we must mention my other single at Immediate that is just like… [a] northern soul classic… it wasn’t a big hit at the time—it was written and produced by Steve Marriott and Ronnie Lane: “If You Think You’re Groovy”.

DN: Oh, yes—yes.

PA: And that’s another classic that follows me to this day that I’m also very proud of. I’m really in love with that. I have so many great memories for all the work that I did with Steve—Steve Marriott was my soul brother. Soul brother number one—all those guys were. We were all… it’s awful, what happened with Immediate Records, you know, … the label broke down and went bankrupt, and all the artists were like lost and we were all just… devastated, because it was a great place to be, Immediate Records. All the artists we had, we were all working together in the same way. We had the inspiration of Motown in the States, and we were trying to build that kind of vibe here in England, where all the artists worked together and write together and play together, you know? So yeah, a great era.


DN: I was going to say, just to kind of cap off that particular period: can you give us an idea of what it was like for you, and you mentioned a couple of other people who were here: we of course talked earlier on about Doris—Doris Troy; Madeline Bell and I think there was somebody else… oh, of course, Jimi Hendrix—hello [laughs].

PA: Hello.

DN: What was it like for you all as Americans, as African-Americans in London, in the U.K. at the time? How was that, just coming from a different culture and then being in London and then being recognized and accepted and just being your own… in a sense, your own little community. How was that for you?

PA: It was fantastic. It was really, really fantastic, because we were free. We were free souls. We were really free souls at a very important time in the history of British music. And not only did we separately and individually have our own careers; we just worked with everybody, because we had that sound—that whole American sound that everybody was into, and the gospel and everything. Madeline, Doris and I, along with Lesley Duncan and Kay Garner and other great singers here in England—we just did everything, so we were really a part of the sound that happened with lots of big artists, you know? You know, nobody realizes that Doris was part of that original Pink Floyd choir.

And Madeline…. One session that I have always been upset about, and that was “With A Little Help From My Friends”, the Joe Cocker session. Now I sung on that session, and I never really got a credit. I don’t know what happened with the politics of all of that that went down, but I know that Joe also brought in—to go on the road with him—he brought in Sue and Sunny—the sisters, Sue and Sunny—and they were singing… I think there were a lot of versions of Sue and Sunny… but I definitely went and did that session with Madeline Bell that night. And every time I hear “With a Little Help From My Friends” and I hear me in the background and then it says “Sue and Sunny,” I think, oh well, okay, all right.

DN: Well, now you get a chance to tell publicly, now, that it was really you.

PA: Yeah.


DN: So you did a lot of session work?

PA: We did a lot of session work. Jimi Hendrix and I, as the universe would have it, lived right around the corner from each other.

DN: Wow.

PA: The first night I met Jimi, I was doing a gig at Bagnell’s. And my guitar came backstage…. I had seen this brother out in the club, you know, this really freaky-looking black guy hanging out surrounded by all these women, and I thought, “Who is this brother?” Anyway, I’m backstage getting ready to do my set and my guitar player comes back and he said, “There’s an American guitar player here tonight and he wants to know if he can jam with the band. “And I go, “Oh, well, just tell him he can jam on the second set.” Because if people wanted to jam, that’s cool, but I always let people jam on the second set, ’cause you don’t want someone to come onstage and jam and blow you away and then, you know…

DN: Right.

PA: There’s your night gone [laughs]. So anyway, he came and we had a great night at Bagnell’s. And then Jimi came up at the end of the second set to jam with us—and of course, you know Jimi’s history. He blew us away. And we became the best of friends, and then we lived right around the corner from each other, and we had such a close community with all of us: Madeline and Doris, and then later, you know, The Flirtations came, and The Fantastics were here—well, they’re still here. Then my soul mate Jimmy Thomas came, the year after…Jimmy was also a singer with the Ike & Tina Turner Revue. Jimmy came back in ’68 to do the second tour with the Stones, and Jimmy stayed. So he’s been in London all these years as well. It was just great; we had such a great time. It was just music, music, music. I didn’t get a chance to party as much as everybody else because I had my babies. Within six months I had “First Cut Is the Deepest”. I had that hit. So I went home to L.A. and got my kids and brought my kids back to England with me…and you know, it wasn’t easy. Suddenly, I had my two babies in a different culture and a different country, but that’s the way it was. And I think having my kids with me saved me, actually.

DN: Right, right. I gotcha.

PA: There was a lot of extracurricular partying going on out there back then— at all those parties. [If I had participated]… I may not be here talking with you today [laughs].

DN: I gotcha. Now, let’s pick up on your recording career: so after Immediate, what was the next thing that happened with your recording career?

PA: Well, after Immediate I was lost for a minute… I had recorded a version of “To Love Somebody” that Barry Gibb just loved. And so at the end of the period with Immediate, Mick Jagger produced a duet with Rod Stewart and I. There I was… Immediate had not folded yet , we were doing an Otis Redding/Carla Thomas-type duet thing. And although Rod and I… [laughs] our relationship fell apart at that session. But it was good. We did the song “Come Home Baby”, which has also survived as a real big Northern Soul classic. Unfortunately, that was my session that we did that duet on, but I seem to find a lot of versions that says [sic] “Rod Stewart featuring PP Arnold.” This is not the case—that was my session—

DN: Okay [laughs]

PA: —through my producer at the time, Mick Jagger. And so anyway, just to correct that. For all these labels that are putting that out and have been putting that out for years, and… [fierce voice] I want my royalties! [Laughs]

DN: [Laughs] Okay.


PA: So yeah. So anyway, through Rod—[we] were close friends for a while—and I met a guy named James Morris … there’s a whole group of guys that came from West Drayton and I call them the West Drayton lads. That’s Ronnie Wood, Jim Morris, Rod Stewart… Dick Ashby, who is now the manager with Barry Gibb; the manager with Barry. But anyway, the West Drayton lads. So I met Jim through Rod, and Jim worked for Robert Stigwood, who managed the Bee Gees. Through Jim I met Barry, who just loved my version of “To Love Somebody”, and yeah, he was really interested in producing me. And so that was the next project that I did after Immediate. We started doing an album—I signed with the Robert Stigwood Organisation, and Barry and I started recording an album together. Now unfortunately, during that relationship, there were a lot of politics going on. People that have been around remember that the Bee Gees split up around that time.

So there was a lot of stuff going on around there, and unfortunately our project wasn’t completed. We did have a single release called “Bury Me Down by the River” with the B-side, “Give a Hand, Take a Hand”, which was released. I mean, “Bury Me Down by the River” taught me to never sing a lyric that has a negative connotation.. Because after recording “Bury Me Down by the River”, I got buried down by the river—

DN: [Laughs]

PA: —for a long time; I really did. And I sung that song with conviction. I didn’t really have a hit record for a while after that, but [laughs]… Anyway, I kind of got caught up in that whole thing; Barry and our productions kinda stop[ped]. So then I went on the road. I had a band—I formed another band, put a band together with Steve Howe of Yes playing guitar. And the rhythm section was a group called Ashton, Gardner and Dyke, with Tony Ashton, Kim Gardner and… oh, god. Bluh-bluh-bluh Dyke [laughs]. So we went on the road and we opened up the Eric Clapton Delaney & Bonnie tour of 1970 with George Harrison and Billy Preston.

DN: Wow.

PA: Yeah, and that was fantastic. Kay Garner and Lesley Duncan were with me singing my backgrounds and everything. That was a fun tour; that was a crazy tour. And after the tour I went in the studio with Eric [Clapton], with the Delaney & Bonnie band playing and Eric, and we started doing an album together, because Eric was also with RSO.

So yeah, once again, there’s a lot of recordings that were never released, because da-da-da-da, they weren’t commercial, or blah-blah-blah… but hopefully they’ll see the light of day real soon. I’m working on that. And then after that I did my first theatre project. I played Bianca—they beefed up the Bianca role in Othello. And I did the first rock musical, Othello; and it was directed by Jack Good, an American… who was famous for a rock’n’roll music program called Shindig—back in the sixties. An American show. So I did Catch My Soul, it was my first theatre experience, and it was great; with P.J. Proby and a guy named Lance LeGault and a really, really sweet English actress that—I don’t know, I’ve heard recently that she’s passed away, a beautiful lady named Anne Harriet-Reese. I went on the road with Catch My Soul and brought it into the West End, into the Roundhouse. And then it was great doing theatre, but at the time, I was really missing being on the road, singing. I think Marsha Hunt took over after me [in Catch My Soul]. And then from there, you know, we’re getting deeper into the lost years [laughs].

DN: Okay. Well, we won’t dwell on the lost years; otherwise we’ll have a ten-hour interview…

DN: So let’s pick it up from, actually, when you came back to the U.K. Which would have been when?

PA: Well, I left the U.K. in 1975, to go—just very briefly—to America to do an album project… [with] my partner at the time, Fuzzy Samuels, who was the bass player with Crosby, Stills, Nash & Young; Fuzzy and I had been doing—well, we’d already done one album project. And we formed a band called Axis, which was a tribute to Jimi Hendrix, actually—we called it Axis. And we went to America to do a recording project. And you know, it all went wrong. I lost my daughter there. I took my kids back while we were doing the project, and it was during that time that I lost my daughter [Debbie] . And so I didn’t come straight back to England; I found it quite difficult, coming back to England without Debbie.

DN: Yes.

PA: But then I stayed in the States and Barry Gibb and I hooked up againi—Barry invited me to come down to Miami, and once again, the Bee Gees spilt up [laughs].

DN: Okay.

PA: So I got caught up a bit more of that kind of politics. But I did do a fantastic version of “Will You Still Love Me Tomorrow” with Andy Gibb which is on his greatest hits album. And then I came back to L.A. I thought, well, ‘ I’ll try to do this American thing’ this Hollywood thing that my heart wasn’t into, because I just wasn’t strong enough to deal with Hollywood and… you know what that is.

DN: From having lived in Los Angeles—yes, I do.

PA: Yep. Yep. And it’s really weird for me, because even though I was born in L.A.—you would think it would be a great place for me—but nothing ever went right for me in L.A., really. And so anyway, I went back to L.A. just for a minute, just to see if I could possibly deal with L.A.—and I met Johnny Guitar Watson. There was a birthday party for [him]. And everybody was singing “Happy Birthday”; and I was doing my soulful version of “Happy Birthday” and Johnny heard me, and fell in love with my voice and decided that he wanted to produce me and everything. And so I kind of stuck around in L.A. to do that, because Johnny was, like, from Texas, and you know, my family is from Texas and my sound is kind of like a Texas thing. It was great, you know, but there was a lot of stuff going on there that just made me want to pack up and get the hell out of L.A. Which I did, and I which I think I did at the right time, and I think it was the right choice for me anyway.

I came back to England… and I came back… and before I had left England I had did [sic]… Doris, Madeline and I had did [sic] the gospel overdubs to Jesus Christ Superstar. And I was supposed to actually do Jesus Christ Superstar, but I was pregnant with my youngest son, Kodzo, so I couldn’t do the show. But when I came back to England, Andrew Lloyd Webber was doing another spectacular musical, a really innovative show called Starlight Express. So I went to the auditions for Starlight Express, and lied and said I was a professional roller skater. Which they soon found out that I wasn’t, once I put my skates on!

DN: [Laughs]


PA: All I could do, really, was go forward, and I knew a little dance moves. Anyway, Andrew was besotted—as he said, besotted—with my voice. And the part that I was up for was Belle, ‘The Sleeping Car.’ So in a way the of character Belle actually suited where I was at the time as well: I had been kind of lost, and put on the heap, really—everybody thought it was all over. Then Belle comes in and does the race with Rusty, and she’s back in the race as well. Rusty and Belle win the race. And so that was with Ray Shell—that’s where I met Ray [who] was Rusty and I was Belle. [But] they knew I was lying. I, I begged ’em and asked ’em to give me three weeks and I would learn how to roller-skate—which I did: I went down to the Old Street rink and found a guy named Sammy Samuels, who was about seventy years old. And he was a British roller-skating champion. And he put me through me paces. And I went back three weeks later and got that part [laughs].

DN: Okay. Now is it just prior to that that you did your work with Ten Records, or was that after that?

PA: No, that was after. I got the gig with Ten Records after that. Because I actually went to America…this guy who was managing the whole situation with Fuzzy and I, a guy named Steve Lewis was working with him. When I came back to England in the eighties, Steve was now working with Ten Records—with Virgin Records. And so Steve had actually come to America before and thought that I would be a good artist for Virgin. So yeah, after I came back and I did Starlight Express—and Starlight was just the big success that it was. After I did Starlight for about a year, during that time I was offered the record deal with Ten Records. I started working on another album project—my first album project. And the productions… things had changed; now it was the eighties and everybody was doing all the technology with—and I knew nothing about what was going on. The old days of going in the studio with just a rhythm section or with a band or whatever, and doing everything live—that was over. Everybody was using all this technology that they were calling slaves. They had all the different tracks, and the slave tracks, and it was almost like… where did I fit in? It was just, like, weird [laughs].

But anyway, I started recording with two brothers—the Walsh Brothers—Pete and Greg Walsh were producing. And these guys had been kind of connected with the Tina Turner “What’s Love Got to Do With It” period, and they were sort of like the “in” guys at the time. But you know, nobody really knew what to do with me, really. And so they brought Dexter Wansel in. Dexter Wansel was on the set from Philly International. He came in and he was working with… I almost said Blue Mink. Not Blue Mink, ah… oh, god, my brain just sat down on me. Oh, god… the guys that were with the Virgin… the black group… I can’t remember. I’m moving too fast, here.

DN: Oh, Loose Ends.

PA: Loose Ends, excuse me. Yeah, Loose Ends, of course. So, yeah. Dexter was producing Loose Ends, and so they brought Dexter in. They brought some more writers in and I did tracks with Dexter, with the Loose Ends guys playing. We actually wrote some songs together. Actually, I had my song “Smile”, and we all wrote a song together called “Haunted House”. And then I did a track called “A Little Pain Never Hurt Nobody”—and that was the single, “A Little Pain”. And it was fantastic; it was a great single, and it was, like, underground. They finally found a way to put me in the new black Britain scene that was happening. So the record was released: [it[ was a soul record, but of course, Radio One wouldn’t play it…

DN: Right, right.

PA: So it was crazy; it was really a crazy time. It wasn’t about having a band and going out being live. Everybody was going out and doing these P.A.s and miming, and I just couldn’t get with that at all. I just was not with that. And in a way, I might have been a little hardheaded, because I was just real revolutionary about going and standing onstage and just miming. Uh-uh. To me, that was cheating. But that’s the way it was done, so I didn’t really last long on that scene [laughs].

DN: I gotcha; I gotcha.

PA: But anyway, Dexter and I got together and we were recording some great stuff and we got along really well, but you know, the record company didn’t think it was commercial. And so that’s what happened with that. And then I had some things going on, and I was getting ready to go on tour with Billy Ocean. I did a tour with Billy in America, and it was to be my first global tour. I had a really tragic accident, where I got crushed between two cars, and—oh, it was a nightmare. Anyway, I ended up going on—it was my first kind of global tour to really promote myself outside of England, and I was supposed to open for Billy, but because of my accident they brought a lady named Meli’sa Morgan in to open. But I still went on that tour with Billy, and I did have a short spot where I sang “First Cut”, and I did a duet with Billy, “The Long and Winding Road”, that went down really well. But you know with my accident… I actually started that tour on crutches, and it was just hell, that whole tour. But I was just determined not to just lay down and just be a vegetable. So I did the tour, came back and then took time off. I had to just stop doing everything for a while and work on my healing.

Luckily… I’m glad I did that tour, because I found out about a new healing therapy called electromagnetic healing that I had found out about that in L.A., and when I came back to England, nobody had ever heard of it. But I bought a ‘Daily Mail’ one day, and on the front page there was an article about the Queen Mother—this therapy being used on the Queen Mother—at this clinic called the Bluestone Clinic. So I got on the phone and I called this woman who owned the clinic—Kay Kiernan was her name. Anyway, I told her my condition and she told me to come down, which I did, and that started my healing. So that started the healing process for my legs, and it also moved me into my love for alternative healing, which I’m also very much involved in. But I couldn’t really work; I couldn’t really go on the road or do live shows, or anything like that. And a really lovely, lovely lady by the name of Linda Hayes—who was another American singer here in England—she was so lovely to me. And she introduced me to all these agents that did jingles and things. And it just happened to be during a time when there was a lot of soul jingles around. And Madeline had moved to Spain, so she wasn’t around—Madeline was the jingle queen. And there was an opening for all these soul songs—“Respect” and the Staple Singers—I did all these different campaigns.


While doing this I met a jingle production team called the Beatmasters—well, who became the Beatmasters; they were actually just producing jingles at the time… They were talking about doing all this dance music. The industry was changing once again. They were doing all this house music and they were talking about house music, house music. And so they wanted me to do a house record with them. And I go, “Well, I don’t know what house music is. But if it’s soulful and it’s kind of funky—I’m in. Let’s do it.” And so we all got together and we wrote this song, “Burn It Up”. And “Burn It Up” was released in 1968 and it was—

DN: You mean 1998.

PA: Yeah. I’m sorry.

DN: I know it wasn’t ’68 [laughs].

PA: But it wasn’t even ’98—we’re talking 1988.

DN: Oh, ’88—okay.

PA: This is the eighties. This is a part of the whole eighties decade. I did “Burn It Up”—and [it] was a hit! We had a Top Ten hit with “Burn It Up”, so I was back on Top of the Pops. And I had healed my legs… you know, the doctors told me I would never walk; I would never dance. And there I was on Top of the Pops in these high-heeled shoes, dancing away, doing “Burn It Up” and my concept of “Burn It Up” was [it was] all about transmuting negative energy into positive energy through dance.: Through being out on the dance floor and sweating it, and sweating it out [laughs].

DN: I gotcha. I gotcha.

PA: So yeah, I had that hit with “Burn It Up”, and so that really got me, like, wow, motivated again, and helped me to get my confidence back again after the accident and everything. And so… but I couldn’t get a record deal. I couldn’t get a record deal to save my soul. I was the only live element on the record [laughs]—and I couldn’t get a record deal. So then I got revolutionary. That’s the first time we’re talking about independent productions, so that’s the first time I decided to do my own productions. And I got a little too revolutionary and a little bit too headstrong, and I formed a company called Full Circle Records. Kenny Moore, who was the keyboard player with Tina Turner before he passed away—you know Kenny?

DN: Of course, yeah.

PA: Well, Kenny and I wrote a song called “Dynamite”. We thought, after “Burn It Up”, let’s do “Dynamite” [laughs]. We recorded “Dynamite” and the Beatmasters produced it, and it was a jamming, jamming tune. And I had the record label, and I made a video for it and everything, but I didn’t know how to sell records. I knew about making them. And I didn’t really have a really strong backup support system around me, and there was no way I could compete with the record companies, who were actually giving records away at all the record— But I did have a buzz on the record, and it was a nice little underground club hit. And I did a distribution deal with a company whose name I won’t mention that really let me down. Because I went all over the country—I’ve always had a great relationship with the media, with all the DJs. The media… if I’ve got something happening, the media has always been there for me. So I went all over the country with my son, Kodzo; we went all up and down the country doing radio interviews and, you know, promoting the record. But the distribution company didn’t have the records in the shop. So I lost out on that. And you know, you just keep going.

Then I get a call from these guys, KLF. They’re doing a record, and they liked the work that I did with the Beatmasters. And they had this track “3 AM Eternal” that they wanted me to do, so they had a session so I went, actually, to way out in Dagenham. They picked me up in their little police car and everything and took me to Dagenham. I took Katie Kissoon with me. Well, my deal at the time was, I was doing a lot of backing singing—sessions and things in order to survive and pay the mortgage, and things like that. But I didn’t want to do that anymore, because suddenly people were just sort of thinking that just because we were doing sessions during those days, they were calling us backing singers. You know? And it was really hard, doing that, because of the sound—my voice is so distinctive, it’s really hard for me to just go into a session and sing with just any singers.

In the days when Doris, Madeline and all of us were doing sessions together and everybody had that same sound and everything, it was one thing. But to try and just sort of, like, fuse my sound—my very distinctive sound—into sessions wasn’t working for me anyway. So I took Katie Kissoon down to Dagenham with me to do the session; we did the session. And when we did, KLF wanted… these guys, they always want you to adlib around everything. So my thing is, ‘Yeah, I’ll adlib, but if you use my adlib, just look out.’ You know? Take care of me, you know? Just give me a little bit. I just ask for a little bit; I never ask for too much. So anyway, we did that, and I came up with the [sings]: “KLF, aha aha aha/KLF” [bass tones]. So to me, that was the hook of the song. I think everybody who heard that song knows that that was the hook of that song. So anyway, I did that, and Katie and I, we tracked up a lot of stuff for them; they were doing some other stuff. Well, Katie Kissoon and I are the MuMu Choir: the MuMu Choir that you heard on every KLF record? That’s PP Arnold and Katie Kissoon.

DN: Okay [laughs].

PA: So later, you know, you end up going through a lot of politics—there’s a lot of politics that went down with that. I’m watching ‘Top of the Pops’ one day and suddenly I see them on ‘Top of the Pops’ with somebody else miming to my voice, you know. Things like that have happened a lot to me, a couple of times. So anyway, politics with that—blah-blah-blah. [And] I hate all of that. You just want to sing and …a lot of people, they want you to scratch their back: ‘come do this and make me sound good.’ But then when you ask for the favour back, sometimes it’s not there.

DN: Right.

PA: Then the industry changed. Back in the day, everybody supported everybody else. If you worked with a good singer, great. Everybody respected everybody. It’s like—not right now, today. If somebody tells me I’m the Queen of Soul, I think, Don’t even go there. Aretha is the Queen, okay? Forever and always. Re-spect. And now the scene, times change, and … suddenly there are all these people out here on these big ego trips; all the big egos and everything, for people who have only like done something for a hot minute. Now they’re like, ego tripping out. Now, it’s like—it’s all out of control. There’s all this celebrity-ism. Everybody wants to be a superstar; sometimes it’s hard to separate the wheat from the chaff. And there’s a lot of talent that don’t get the opportunity to get through, because of the mediocre talent that’s being promoted for whatever reasons, because of their age or because they got big tits or because of whatever. You know, it might have nothing to do with whether an artist has talent anymore.


DN: Sure, sure. Now, let’s bring us up to today. You spent some years on the road with Roger Waters, right?

PA: Ah… I love Roger.

DN: When did that begin and how did that happen?

PA: Well, Roger saved my soul. He really did. Because you know, we’ve just been finished talking about all this stuff with the eighties era and how the music industry changed, and the whole thing. And then in the nineties—coming into the nineties… well, I know Roger from the sixties, because as PP Arnold and The Nice I played alongside Pink Floyd. We all know each other from when we were all kids. If a session came through, and after Madeline was gone and Doris wasn’t around, I would always call Katie, ’cause I really liked her. She was really sweet and she had a beautiful, beautiful sound—very sweet, pure top. And I like working with Katie, she’s really sweet and easygoing. So Katie retuned the favour with me by putting me on a session that she was doing with Roger—Roger was recording his Amused to Death album and during that session, Roger had written a song called “Perfect Sense”, and he wanted me to sing this sort of very melodic but soulful and intense, revolutionary-like vocal for these lyrics—these amazing lyrics that he had written for that song. He just gave me the space and gave me an idea of where he wanted it to go, and I just went for it. And so “Perfect Sense” turned out to be quite a… a well-liked track on that album. A well-loved track, shall I say—and really appreciated, and a very powerful, powerful piece of music.

[Then] in ’92 and then as the nineties went on, I ended up doing another musical, Once On This Island, which I must say to all of your soul listeners: Once On This Island is the only black musical ever in the U.K. to win the prestigious Oliver Award. And nobody knows about it, and that just breaks my heart. Because that was in 1994… I did that musical with Clive Rowe, Sharon D. Clarke, Suzanne Packer and Shezwae Powell… Anyway, we did this great musical that won this award. First of all, they closed that musical down. It was like a Caribbean Once On This Island. And it was quite… the storyline, written by Rosa Guy, has a lot to do with the racism that exists between black people themselves. And it took place in the islands, and you know the whole thing with the light skin and the dark skin and the separation between black people themselves. It was directed by a great man named David Toguri. So our show was closed down two weeks before it was nominated for best musical, best direction and also best supporting actress, which Sharon D Clarke won. And so… yeah, anyway, I had done that. I’d done the music with Roger, and then Once On This Island—and so I was so upset about that I went to away - and that’s how I ended up living in Spain [laughs]. I never knew at the time that it would happen. Lorna Brown was the beautiful young actress that also starred in Once On This Island.

DN: Okay.

PA: And so anyway, then after I came back from that I decided that I was going to write my autobiography in ’94. So I actually first started writing the book in ’94. Well, the minute I started writing the book and writing about the sixties, I started getting all these people calling me. It was like, suddenly there was this big Small Faces revival and there were all these young mods that were into the music that we did in the sixties. I get a call from these guys… no, actually I had met Ocean Colour Scene when I was doing Once On This Island; they came to the theatre in Birmingham and introduced themselves. They were big fans, and they wanted me to work with them. So anyway, this tribute album for the Small Faces came through and I ended up doing that with… with a lot of the Primal Scream. I did the Primal Scream “Understanding” track “ From that I did the work with Ocean Colour Scene, and I did the single “It’s a Beautiful Thing” with them. That was a hit—it was also a Top Ten hit. Steve Cradock and I were in the process of working on an album, and we did one single, “Different Drum”, the old Monkees tune from the sixties—[which] was released. And you know, I got a lot of response for that. It didn’t chart because the record company closed down or was taken over by—you know, there was a whole change in record company politics. And there was a bit of politics: once again, I’m working with an artist who is producing me, who is also an artist… When you do that, you get caught up if there’s politics going on in their camp…

I was just, like, Oh, I’d had enough. And so I just kind of went underground. And I just thought, Well, ‘how am I going to survive? How am I going to keep surviving?’ And I just thought, ‘Well, I’m just going to let go.’ I had been through a bankruptcy and all kind of chaos. And anyway, so I just decided to put this band together, PP Arnold and the Band of Angels. I did the project that I’m now downloading now with Chaz Jankel. And so I had that music. And so I met Tony Remy, he’s a guitarist who I’m also working with. Then there’s also another band I’ll be touring with after—in-between the gigs with Digby. So anyway—I’m getting [back] to Roger—

So I put this band together, the Band of Angels; I went into the Jazz Café, did two sell-out gigs at the Jazz Café. And I’d been underground. So from those gigs I get a call from Roger’s manager, Mark Finney, saying that Roger was going on the road to do this tour, and he wanted me to go on the road and tour with him. Well, at first I thought, ‘Oh, no, I’m getting PP Arnold back together again—I’ve got this great band and a great response from all the gigs we’ve been doing.’ But then he told me how much he was gonna to pay me—

DN: Okay.

PA: — [laughs] and I thought, Well, maybe I should go out and at least do one tour with Roger [laughs]—

DN: Right.

PA: —and get myself back together financially. Because you know, having a band and supporting a band—it takes money to do that.

DN: Sure.

PA: Without a record company and without management behind you and all of that, you just end up paying for everything, and everybody’s making money except you. So I went on the road with Roger, thinking I was only going to do one tour, and I ended up touring with Roger from 1999 till 2008.

DN: Wow.

PA: And fabulous, fabulous world tours all over the world. So you know, it has been a great experience, working with Roger and singing “Perfect Sense”; and the audience—that Pink Floyd audience—really tuning in to me and my history and everything, so… that lands me to where I am now.


PA: After the 2008 tour, then I did the tour with Gino and Jimmy James last year, which was fantastic—the This Is Soul tour. And when I finished that tour I thought, ‘I’ve got to finish my book.’ So basically, I’ve taken a year out to finish my book. And now I’m ready to do ‘live.’ I need to be live. I have to—I have stuff to complete as PP Arnold. And Roger’s gone on the road with The Wall at the moment, and it’s an all-male tour.

DN: Right.

PA: So for me, that meant I didn’t have that temptation of whether I was going to turn down [laughs]…that work. I really just decided to have my own completion now. And so that’s what this time is about, you know? So I’m going on the road, and I’ve got the Web site up, and I’ve got the downloads… and I’m just sort of here in London—I’ve been living in Spain for the last ten years, well, I’ve lived in both cities all the time. But now I’m going to be in London a lot more. And I just had a meeting with a wonderful lady, Juliet Matthews, on Friday, so it looks like I’m going to have somebody who’s really enthusiastic about working with me and helping me to do things that… it’s just hard for an artist to take care of business and be an artist at the same time. So it’s a whole new… I’m moving into the next phase of PP Arnold.

DN: Okay. All right.

PA: It’s a new phase [laughs].

DN: Well, I have one, final question.

PA: Okay.

DN: ’Cause that was a lot [laughs].

PA: It’s a lot, and you know I’m just getting warmed up [laughs].

DN: You’ve had a really, pretty amazing career.

PA: Yes. It’s been difficult. I really consider myself a soul survivor and I’m proud of myself for surviving a lot of the chaos and everything. I was going to retire last year. I thought, ‘Pat, you can’t retire—you’re a soul singer, you gotta sing. You gotta keep touching people’s souls. You’re a healer. Don’t worry about all that celebrity-ism and all of that stuff; you just keep going out there and singing and touching people’s souls, so…’

DN: When you look at the entirety of it, do you ever shake your head and go, Wow?

PA: Yeah, I look back and wonder how I got over, that’s for sure.

DN: Okay [laughs].

PA: And I do say “wow.” But you know what, David? I’m really excited about what’s about to happen now. I’m very much in tune… I mean, I could have turned into one of those very bitter artists, because I’ve been through a lot of exploitation, and I’ve been through a lot of tragedies and things in my personal life. And I could have gone that route and just be bitter and pissed off with the industry and everything, but you know… hey.

You just have to keep growing. And so I’m glad that God has given me a heart and that I have forgiveness—I have to forgive myself so that I can forgive my past. Because you know, we all make mistakes in our lives. And nobody has ever twisted my arm and made me do anything. So maybe my lack of experience and my naiveté and all of those things—I’ve had to pay the dues for all of that. But I’m whole; God has blessed me with my health and strength. So I’m real excited about what the future holds as well.

DN: All right, well, it’s time for us to wind it down. I just want to thank you for sharing, really, basically, the highlights of your life with us. I’m sure that there’s a lot people will get from listening to this and from reading it, about many different periods of time—just, you know, life in the music industry through many different decades. As well as, of course, walking away with the knowledge that, as you so correctly put it, you have survived—you are a soul survivor; and that… and I’ll use a Grover Washington Jr. title to sum up the last sentence: “And the best is yet to come.”

PA: The best is yet to come. And make sure you buy the book, because I’ve only given you a glimpse of what’s to come inside that book. And we’re nearly there, and I’m hoping that the book will be ready and be out there very, very, very soon.

DN: Okay. Well, PP Arnold, or as I would prefer to say, Pat—thank you for a great interview. And I would just remind people to go check out your Web site,, for the great music that you’ve never heard before; see some of those great videos that they may not have seen before; and to really keep up with what you’re up to in this next, new, exciting phase of your journey.

PA: Thank you so much, David. Facebook as well.

DN: Oh, okay—we mustn’t forget Facebook [laughs].

PA: [laughs] I mean, it’s just been a joy doing this with you of all people.

DN: Thank you.

PA: I love you so much, and I look forward to seeing you real soon.

DN: Absolutely.

Transcription by Penelope Keith


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