THERE’S A STRIKING MOMENT AT THE

end of Jack White’s new album, Fear Of The Dawn. “This is the real me,” he sings plaintively in Shedding My Velvet. “I’m not as bad as I was/But I’m not as good as I can be.” For those of us who may have been unhealthily fixated on White’s long juggle between honesty and artifice, it marks the start of a new era. “Ever ything I’m doing right now,” he tells us this month, “is all rebirth.” A great time, then, to catch up with this most compelling of modern artists. For this issue of MOJO, White gave us unparalleled access to his domain and processes. If you’ve seen the video for Fear Of The Dawn, it was even worked on by our writer, Grayson Haver Currin, as part of his interview with Jack. There are stories of Bowie, Prince, the Stones, Beyoncé and staring into the sun, about turning your back on negative energy. “Can you be an artist in a stable place?” White ponders. Fear Of The Dawn, and this month’s cover story, make the answer to that question pretty self-evident. But are we sure that’s his real hair colour?

I can tell you this: it is important – vitally

As Willie ‘Pops’ Mitchell’s grandson and co-owner of the legendary Royal Studios, my family and I appreciate the sentiment that went into Bob Mehr’s article [MOJO 340] on the making of Al Green’s

Let’s Stay Together. However, there is a glaring error in the piece that needs to be corrected.

The story claims that, “As was the case with Let’s Stay Together, Mitchell often took Green’s singles across town to mix at John Fry’s Ardent Studios.” None of Al Green’s classic singles were ever mixed at Ardent. The only Al Green project worked on at Ardent during that time was some vocal overdubs for the Green Is Blues album.

In regard to Let’s Stay Together, Willie’s daughter, my aunt Yvonne, was here at Royal Studios with him when he mixed the track and album. Pops told me personally that he and Yvonne stayed up for three days and nights as he worked on the mix. Yvonne corroborates this story as she was his tape op for the session. Further, this is also confirmed by the musicians that played on the album, including the surviving members of Hi Rhythm (among them, Leroy Hodges, Charles Hodges and Archie ‘Hubbie’ Turner). In short: Willie Mitchell produced, engineered and mixed every classic Al Green single and album here at Royal Studios.

On the Let’s Stay Together album, one notable memory is that Pops constantly sobbed during the mixing of How Can You Mend A Broken Heart as it was the most emotional song to him. When the album was finally mixed, he went outside in the sunlight and cried tears of joy because he knew he had completed a masterpiece. Thanks for correcting that and setting the record straight. Lawrence ‘Boo’ Mitchell, Royal Studios, Memphis

We’re a long way from home

Your mention of the Flower Travellin’ Band in your 1971 Nuggets article [MOJO 339] brought back a distant memory of the band’s concert at my high school in Scarborough, Ontario in 1971-72. They had come to the attention of local heroes Lighthouse when the latter played Expo 70 in Tokyo; it was suggested they come to Canada, and they did after recording Satori, which became a local FM staple for a while. This would have been the first real rock band I ever saw live (it was an actual concert in the school auditorium, too, not a dance in the gym). I remember a bunch of us being up on-stage at the end of their set as well. My next show? The Stones in ’72… Ian Mitchell, Oshawa, Ontario

…First off, many thanks for mentioning The Wackers and their Wackering Heights album in 1971 Nuggets. Such a great band that unfortunately got swept under the rug. Seeing that you mentioned suggesting other 1971 fabness, I’ll put forward the self-titled album by Parrish & Gurvitz, produced by some guy named George Martin. Start with a little Beatles, add some CSN and a dose of themselves, shake and stir. Wonderfulness ensues.

Glenn Christensen, Gurnee, Illinois

All of a sudden you know a whole damn lot about submarines

Loved the piece on Pink Floyd’s Echoes [MOJO 340]. It has always been a great favourite ever since hearing that first sonic ‘ping’ from Rick Wright. You had a piece on longer songs, and there are a few opuses that are close to that edge – mostly by Yes: The Gates Of Delirium from Relayer and Ritual from Tales From Topographic Oceans both go over 20 minutes. There’s also Poland from Tangerine Dream at 22:23 mins, but it’s some of the modern progsters who crash the 23:25 barrier: Porcupine Tree with The Sky Moves Sideways at 34:43, and the ever-prolific Dream Theater with Octavarium, which comes in at 24:00. More bang for your buck, eh? Yours – with not much on today, clearly.

Marc Blake, via e-mail

All right sir, I’m impressed

Thanks for the great tribute to Michael Nesmith [MOJO 340]. I was fortunate to do a Zoom Meet & Greet with him on the last day before he set off to rehearse for what turned out to be his last tour. He was very friendly, answered all my questions, told me that he was looking forward to coming back to the UK in 2022 and promised to perform Don’t Wait For Me, one of my favourite songs of his, during his visit – a song that he had not performed live since his Monkees days. I mentioned to him that in the current MOJO magazine a reader had written in saying that it was about time his 1968 album, The Wichita Train Whistle Sings, was re-evaluated; this made him smile. When I said that I had just listened to it, he asked me if I could still stand it!

They say that you shouldn’t meet your heroes, but I am so pleased that I managed to speak to him after being a fan for 55 years. I have a copy of our 30-minute chat, which I will treasure. Richard Fennell, Milton Keynes

Rest easy!

On hearing of Mike Nesmith’s passing, I was going to write to you droning on about his totally underrated cool genius and how Nevada Fighter was an absolute Cosmic Cowboy gem, but your excellent coverage means I can relax on that front.

So instead let me congratulate you on the best MOJO cover since Issue 2! The boys look out through the walls of time at the MOJO nation with smiles, curiosity, confrontation and a quizzical stare, keeping a brotherly eye on us from Monkee Headquarters. Clive Goodyer, via e-mail …Your cover story on Michael Nesmith’s career with The Monkees and as a solo artist was comprehensive and enlightening. Borrowing a phrase applied to John Lennon, Nez was “the thinking man’s Monkee”. In addition to the recordings featuring him in a group or solo context, take note of his stellar production (with Red Rhodes on pedal steel) of Bert Jansch’s excellent 1974 release L.A.

Turnaround. A 22-minute YouTube video documents the sessions conducted at Luxford House, Crowborough, Sussex. Patrick Grant, Houston

We operate on a first name basis. My first name is Captain.

I was surprised to hear that Questlove had any trouble locating the original version of Stand! without the well-known coda [MOJO 338]. My understanding has always been that there was a ‘rejected’ Family Stone version which Sly hastily re-recorded not with his band, but with the help of studio musicians. The original Family Stone version is out there, and it shouldn’t be too difficult to find. It was reissued as part of the Epic Hall Of Fame 45 series (all reissued with grey labels in generic Hall Of Fame sleeves). Due to some sort of mix up, the HOF Cat# 15-2304 (ZSP 13864-2) is actually the original version. Andy Peterson, Aurora, Illinois

I know how to lie, steal, kidnap, counterfeit, suborn and kill. That’s my job.

It’s rare after MOJO lands on my doormat that I open up the letters page and have a lightbulb moment. Maybe it’s because I was watching All The President’s Men when MOJO 341 arrived, but I think I may have a future in investigative journalism. George Harrison looking magnificent on the cover, then the letters headlines being lifts from The Life Of Brian! Handmade Films! By Jehovah I got it!

Keep up the good work – can’t believe Blow Away didn’t make that George Top 30! Gary Russell, London …I couldn’t help noticing Don’t Bother Me was not in George’s 30 best. I gotta be honest, I was Stones and my brother was Beatles when it all kicked off, but it was my favourite on With The Beatles. Roy King, via e-mail