Eric Burdon Interview: A Lifetime of Rock n Roll

By: Rick Landers and Jason Saulnier
Photography by: Marianna Proestou

The distinct vocals of legendary singer, Eric Burdon, still resonate and captivate us nearly fifty years since The Animals made their way to America as part of the now heralded British Invasion. There was something deeply organic about the music that Eric and the rest of The Animals played, a gritty earthiness that had a working class feel to it.

As much as the early signature sound of the group could rest on the guitar riffs of Hilton Valentine, the strains of the keyboard by Alan Price, the upfront bass work of Chas Chandler and the steady drum work of John Steel, it was the vocalist, Eric Burdon, with his raw feel for Rhythm and Blues that helped launch The Animals to international and multi-generational acclaim.

Besides the huge success of the group’s early tracks like “The House of The Rising Sun,” “Don’t Let Me Be Misunderstood,” “We Gotta Get Out of This Place,” and “Gonna SendYou Back to Walker,” The Animals evolved with the times and offered up ‘60s hipness with “Sky Pilot,” “When I Was Young,” “Monterey” and “San Francisco Nights.”

Eric Burdon and The Animals would gather ten top-twenty hit records in both the U.K. and in the United States. And the group’s induction into the Rock and Roll Hall of Fame in 1994 was a foregone conclusion. There was no doubt that The Animals left an indelible mark on music during the tumultuous ‘60s and carried the era’s love and freedom banners as well as its protestations.

Grounded in the work of such American luminaries as Ray Charles, Chuck Berry, John Lee Hooker, Brownie McGhee, Josh White and Jimmie Reed, Eric would hone his R&B style with a deep baritone that was as unmistakable and inimitable as those of his music heroes.

When The Animals split, Eric would run solo until he and harp man, Lee Oskar, joined forces to form Eric Burdon and War, a group that fused R&B, reggae, funk, jazz, Latin and rock to the tune of over 50 million records sold, with the most intriguing and popular track, “Spill the Wine,” featuring some haunting funk percussive work and smoking flute interludes by Charles Miller.

The arc of Eric Burdon’s career would continue to draw him to The Animals and the group would regroup, albeit, with a mix of new and old members. Eric would also work with other iconic musicians including: Robby Krieger, Brian Auger, Noel Redding, Mitch Mitchell, Aynsley Dunbar, Jimmy Witherspoon and a long list of other top musicians. Eric would also find himself in front of a camera for the film, Comeback, and the television series, China Beach and his music can be heard while watching movies such as Joe vs. The Volcano, American Me, Hamburger Hill, Casino and Boogie Nights.

Guitar International caught up with Eric just before his recent 2011 tour in Canada to ask him about his music, his thoughts about his friend, the late Jimi Hendrix, The Animals, Eric Burdon and War and other aspects of his life in music that has spanned over four decades.

Eric Burdon Photo by: Marianna Proestou

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Jason Saulnier: Over the years, you’ve covered “The House of the Rising Sun,” Johnny Cash’s “Ring of Fire” and Tennessee Ernie Ford’s “16 Tons,” making me think you probably enjoy covering songs you like singing in the shower as much as those you write yourself. Do you have to dig deeper to get what you want out of someone else’s songs than those that you write yourself?

Eric Burdon: Yes, I’m a shower singer. It makes a great echo chamber. When I hear a song I love, I just have to do it. The song “16 Tons,” for example, was first released in 1941, the year I was born. I always loved it. The opportunity to record it came after the Tom Hanks movie, Joe vs. The Volcano, asked me to contribute to the soundtrack and video shoot.

Jason: As much as people love The Animals, some of your coolest songs were with War. What kind of creative energy did that change in instrumentation and band members give you that made War special?

Eric Burdon: It wasn’t easy whittling down the group Night Shift when they moved into the band War. The original group was too big as a touring unit. Eventually only a handful of musicians, percussionist Papa Dee, sax player Charles Miller, BB Dickerson on bass, Howard Scott on guitar, Lonnie Jordan on keyboard and Lee Oskar on harmonica became War.

Jason: A lot of rock groups, and for that matter blues masters, got ripped off by their early management or labels. Did you have a business sense about you in the early days or did you have to learn some business lessons the hard way?

Eric Burdon: I became my own worst enemy due to the ongoing crisis with the diabolic tactics of our management, or lack of it, during the Animals touring days. I became destructive to management’s plans, and from that point on I refused to sign anything, including publishing deals.

Jason: When you enter the studio to record, do prefer to have everything laid out or do you find leaving some room for the musicians and yourself to breath and explore a bit as a better way to get more out of a song?

Eric Burdon: Very often, right up until the last words on the mic, I find changes to be made. The invention of ProTools allows this to happen.

Jason: Do you prefer to go for “first takes” and even let a few mistakes be part of that, or do you want songs to come out as close to “perfect” as you can by cutting and pasting or playing a song over and over again, until you hit some mark where the song feels right?

Eric Burdon: In the early days, I always went for the first take. I still do whenever possible, but as I said before, the invention of programs like ProTools changed the attitude a bit. It’s something that takes some getting used to.

Jason: In performance, do you prefer to run solo or do you like the idea of having a group working with you? Are there differences in the intimacy you feel with an audience?

Eric Burdon: I’ve always looked upon myself as nothing more than the point man or front man. Studio and audience gigs are as different as chalk and cheese. In the studio, musicians give me the inspiration and of course, when it’s live, I draw inspiration from the crowd. As it turns out, the difference makes them similar. A singer needs inspiration, wherever it comes from.

Eric Burdon Photo by: Marianna Proestou

Jason: You had an opportunity to be in the ’60s film Blowup, but it’s now known as a bit of a showcase for Keith Relf and the rest of the Yardbirds. Do you regret not getting into that film?

Eric Burdon: It’s a typical example of my useless management situation. They could’ve fought for this movie on my behalf. Anyway, I was allowed to meet personally with the director. I think I insulted him, maybe that’s why I didn’t get the job.

Jason: You’re still working, still going through the grueling experiences that touring can have. Is it better now than during the ’60s?

Eric Burdon: Nowadays there are better gigs and more pay, but longer flights which can be very detrimental to one’s well-being.

Jason: Any new songs that you’ll be sharing with audiences on this tour?

Eric Burdon: Maybe. I just finished recording a couple of weeks ago. If the recordings are distributed by then, yes. But if not, we’ll just have to wait. Other than that, last year I put out a single called, “An Invitation to the White House (It Was a Dream)” and I’ve been performing this song live.

Jason: I know you were a good friend of Jimi Hendrix. If it’s not too personal, would you mind telling us, when you think of Jimi as a friend what comes to mind that warms your heart and that you think should realize about the man?

Eric Burdon: Jimi was the ultimate example of an eclectic persona. It truly was an “experience,” but in England he was viewed through racial and worse, class minded prejudice, but his guitar and writing skills brought the music world to a halt. I could say he was the loneliest guy in the crowd.

I knew he would do anything to make it, but he longed for his friends and the scene back home. I believe, that he was suffering from an identity crisis and at a critical stage in his life when he was approaching 30 he just wanted peace. That peace came to him in a deep sleep. No one could have prevented this.

Jason: What do you think when you hear “House of the Rising Sun” come on the radio? Is there some sense of history or affection or are you tired of hearing it?

Eric Burdon: When I hear it on the radio, my mind goes to an image of Alan Price sitting at home in his walled mansion like most thieves. He’s developed a really nice cover and I know he can live with his past because his head is made of concrete. I believe the medical term for someone like that would be “sociopath.” but this one happens to play the keyboard well.

Jason: When can we expect a new CD from Eric Burdon?

Eric Burdon: As soon as it’s mixed and mastered and a title has been agreed upon. Or, in other words, soon.