“Take your time - Taste and Space - When in doubt leave it out- less is more - only write and sing about what you know about and never play a note you don’t believe.“

Doug MacLeod: Depositary of Roots Blues

The outstanding, multi-­Blues Music Award winner Doug MacLeod released his 6th Reference Recordings album, titled “Between Somewhere and Goodbye” (2025). Internationally acclaimed for his original songwriting, warm, soulful vocals, guitar wizardry and witty storytelling, Doug teamed with producer Andreas Werner, engineer Joe Funderburk in Nashville’s Creative Workshop studio, and mastering engineer Sean Royce Martin of Reference Recordings. Supported by Nashville notables: drummer Lynn Williams, Mark T. Jordan on piano, Wurlitzer electric piano and B3 organ, and bassist Paul Ossola plus the vocal harmonies of The Shoals Sisters, Cindy Richardson Walker, Marie Tomlinson Lewey and Carla Russell, Doug offers up a collection of eleven of his compositions presented in both solo and ensemble settings. Collectively known as the Funky Chester Rhythm Section. Doug used two guitars on this record: his Waterloo WL S Deluxe called ‘P ­Nut,’ and ‘Little Bit,’ his vintage Gibson C­-100 FE. The cover features a painting of the iconic Hernando de Soto Bridge, created for this album by artist Matthew Hasty. Since moving to Memphis, Tennessee in 2019, the mighty Mississippi River has influenced and informed much of Doug’s life and songwriting.

(Doug MacLeod / Photo by Jeff Fasano)

At the heart of a Doug MacLeod performance is his knack for storytelling, bringing characters-from the faceless to the legendary-to strikingly real life. Doug is a multiple Blues Music Award winner. In 2022 he co-authored with Debra Schiff the blues murder mystery book MURDER AT THE CROSSROADS. Doug is an international touring artist who writes and sings original songs that are based on his own life and experiences. He learned from the old masters and carries forward a valuable tradition. As a youth, Doug overcame abuse and a crippling stutter by turning to music. After picking up a guitar, and singing - he found his voice. MacLeod's playing landed him sideman gigs with George 'Harmonica' Smith, Big Joe Turner, Pee Wee Crayton, Eddie 'Cleanhead' Vinson, Lowell Fulson, and Big Mama Thornton. His songs have been covered by many artists including Albert King, Albert Collins, Joe Louis Walker and Eva Cassidy.

Interview by Michael Limnios

Special Thanks: Doug MacLeod, Miki Mulvehill & Jan Mancuso

How has the Blues and Roots Counterculture influenced your views of the world and the journeys you’ve taken?

Well, the blues has taught me so much about life and how to live it. Like I say this is a music that is about overcoming adversity not giving in to it. I saw this with my time with the old bluesmen, I worked with and traveled with.  So, like in the tough times like we got now, I remember this old saying, “If ain’t alright now, it’s gonna’ be alright.”. Their way of saying ‘This too shall pass’. And about living it - enjoy each day. Yesterday is gone. Tomorrow is not promised to you. At best tomorrow is a promissory note. So, all you got for sure is now. So, live it, enjoy it and don’t waste it.

Where you grew up, and what got you interested in music. How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?

I grew up in three parts of the country. North Carolina, New York area, and St. Louis MO. I got interested in music on the radio. My mother told me when I was 3 or so that our neighbor in NC played Louis Jordan music rather loud. His music room and my baby room shared a wall. She was worried if her baby boy was getting any sleep in his crib. She looked in. My eyes were closed but my foot was tapping to the music. So as my mother said, ‘Louis Jordan was my first musical influence’. I think I realized it was a passion after the abuse I had as kid and the subsequent stutter I got. I was shutting down and then music came along, I could express myself, and that changed things. When did I realize I could make a living to this? I don’t know if there was specific time. I just knew it was I wanted to do and had to do.

“If I can a short 20 minute nap helps with that. If there’s no time for that I pull away for 10 seconds or so and say what my manager Miki (Mulvehill) told me what Luther Allison would say before he played. I say it before every performance now. “Leave your ego, play the music, and love the people.” (Doug MacLeod, original songwriting, soulful vocals, guitar wizardry and witty storytelling / Photo by Jeff Fasano)

How do you describe your music philosophy and songbook? What touched you from acoustic sound, resophonic and slide guitar?

That goes back to my first mentor, Ernest Banks of Toano VA. He instilled in me the honesty. He told me “Never write or sing about what you don’t know about and never play a note you don’t believe.” Honesty. Realness. What touched me about acoustic, reso-phonic guitars, and slide? The emotion and the realness. When you play acoustic guitar- there’s no effects. Just you. Slide to me is like a voice. Singing. Sometimes sweet and gentle and sometimes like a locomotive burning down the track.

Currently you’ve one more release by Reference Recordings. What would you say characterizes new album “Between Somewhere and Goodbye” in comparison to other previous?

This album is a little different from my other albums. Oh, there’s blues here, humor here, and even a touch of soul here. And…there’s a theme running through many of the songs here. I learned so much from my mentors Ernest Banks and George “Harmonica” Smith. Not just the music. I learned about this thing we call life. I was invited into a new culture. I witnessed things I never knew or even dreamed existed. For those lessons I am forever grateful. I believe the only way I can pay them back is by doing my best to pass it on.

Do you have any interesting stories about the making of “Between Somewhere and Goodbye” at Creative Workshop, Nashville TN?

In no particular order, I’d like to thank these folks for making this record happen: Andreas Werner whose production skills brought new ideas to my music. He guided my music in some directions I would have never thought to go. Plus, he played some darn good rhythm guitar. I’ve been very fortunate to be able to record with really fine musicians during my career. This album is no exception. Paul, Lynn, and I didn’t know each other or played music together ‘til we met in the studio to do this album. I was in one booth. Lynn was in a drum booth at the end of the studio where he couldn’t see me. Paul was just outside my booth with just little bit of a sight line to me. Andreas told me, “Don’t worry. Paul and Lynn will be right with you wherever you go.” Like Paul and Lynn, I had never met Mark before he came into the studio. I remember he listened to the song one or two times. Andreas asked, “Do you want to run it?" Mark said, “Yep, let’s do it.” And he did. When I was listening to Cindy, Marie, and Carla sing on my songs, I felt goose bumps run up my arm and a big smile go on my face. And last but definitely, not least, Joe Funderburk for his engineering talent. Joe makes it so easy to just focus on making the music. So, I want to thank you all for bringing your talents, hearts, soul and feeling to my music. I'm so very grateful.

“I believe you look inside yourself to find your sound. It is what you like, not what you think you supposed to like. You just got to let it come out. My rule of thumb is “If it sounds good it is good, if it sounds bad, it is bad.” That simple.” (Photo: Doug MacLeod & Andreas Werner)

When was your first desire to become involved in the blues? Who were your first idols?

Back in the ’60s when I first heard the music in St. Louis, BB King, Albert King, Big Bill Broonzy and Lightning Hopkins.

Which meetings have been the most important experiences for you? What was the best advice anyone ever gave you?

My meeting with Ernest Banks back in 1966 or so in Toano VA. Meeting with George Harmonica Smith in 1978 at Shakey Jake’s Safara Club at 54th and Vermont in South Central Los Angeles. Playing with my son’s godfather Pee Wee Crayton. With Ernest - like I said in previous question.

George "Harmonica" Smith - Taught me about entertaining and playing. He encouraged me to be me. One time he said to me “Dubb (that’s what he called me) you sure sound like BB King.” I said, ‘Thanks George!”. Then he replied, “Dubb, that’s not a compliment.”  He said,,” Let’s put Dubb out there and see what happens with Dubb.” He was like a father to me. I loved him. Still do.

Pee Wee? Like a favorite uncle. Someone you could talk to and laugh and joke and also get the advice you might need. He told when I played to take my time. Use space.  Don’t be afraid to be play less. A lot of times in blues less is more. So proud he was our son Jesse’s godfather. I was very proud to do his induction speech for the Blues Hall Of Fame and I tell you I will doing the Hall Of Fame induction speech for George Harmonica next year. It was supposed to be this year, but because of COVID virus it has been postponed.

What do you miss most nowadays from the blues of the past? What are your hopes and fears for the future of?

I miss the guys. I miss the laughter, the stories, hangin out. I miss that culture. I feel so fortunate that I was able to learn and be with those musicians. I hope that the young musicians will visit the history of this music. Learn from what has gone before. Put that in their music and then add themselves to it and carry the music on to the new generation of listeners.

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?

Well I started out as an acoustic player playing blues during the folk boom of the mid to late 60’s in Tidewater VA. Then I went to electric blues with a band for 4 albums. Then back to acoustic ever since 1994. I believe you look inside yourself to find your sound. It is what you like, not what you think you supposed to like. You just got to let it come out. My rule of thumb is “If it sounds good it is good, if it sounds bad, it is bad.” That simple.

“Well, the blues has taught me so much about life and how to live it. Like I say this is a music that is about overcoming adversity not giving in to it. I saw this with my time with the old bluesmen, I worked with and traveled with.” (Doug MacLeod / Photo by Jeff Fasano)

If you could change one thing in the musical world and it would become a reality, what would that be?

The way we get paid for streaming! Make fair for the songwriters and the artists!!

What is the impact of Blues and Roots music on the socio-cultural implications? How do you want it to affect people?

Wow that’s a heavy question. This may not be a heavy answer but it’s what comes to mind. I’d like the music to reach people. Help them think, laugh, cry, feel.

What are some of the most important lessons you have learned from your experience in music paths?

Take your time - Taste and Space - When in doubt leave it out- less is more - only write and sing about what you know about and never play a note you don’t believe.

What do you love most about your previous album Raw Blues 1 (2023), how it was formed and what you are working on today?

It was alot of fun doing it. Just sitting down in front of the mics and playing. Andreas Werner the producer just said, ‘Sit and play what ever comes, like you on your porch.’ We did. Andreas is a pleasure to work with. There will be a Raw Blues 2 coming down the line and me and Andreas are working on a new album that we’ll be recording sometime early next year.

Let’s take a trip with a time machine, so where and why would you really want to go for a whole day?

I’d like to go to Kansas City in 1937 to a Negro League game with Satchel Paige pitching. Then at night go and get me some fine Kansas City BBQ and a beer and ponder over the history I just saw.

Are they The Blues a way of life? Which was the best moment of your career and which was the worst?

It has been for me. Best? Been alot of them. One was opening for BB King and then getting a chance to meet him after the show on his bus. Worst? Mmm-hmm? Years ago I didn’t get my pay when I worked the old Parisian Room in LA with my band. I paid my band tho.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

I opened for BB King in Seattle. They told me to do 35 minutes. I did 34 minutes and 32 seconds. I was well received and so happy that I was. But what made it so special was the BB asked to meet me on his bus. The thrill of my life, I think. Second only to the birth of our son.

“I miss the guys. I miss the laughter, the stories, hangin out. I miss that culture. I feel so fortunate that I was able to learn and be with those musicians. I hope that the young musicians will visit the history of this music. Learn from what has gone before. Put that in their music and then add themselves to it and carry the music on to the new generation of listeners.” (Photos: Doug MacLeod with BB King, Bobby “Blue” Bland, his wife Patti Joy, David Amram, Miki Mulvehill & Bobby Rush) 

Is there any similarity between the blues today and the blues of the ‘30s & ’40s?

Well I wasn’t around back then... (laughs). Yep, well there’s some fellas like me who are singer/songwriters/guitar players and you have some darn good bands out there too.

Which musician have you ever wanted to be? What do you learn about yourself from music?

Well, I guess you learn what is really deep inside of you! I never wanted to ever copy a musician -learn from them- but I think I’ve always known you got to be yourself with your music.

What does BLUES mean to you? Do you think the younger generations are interested in the blues?

It’s a way of life. It helped me overcome some troubles in my childhood and eventually helped me find a good way of looking at life. Sometimes I don’t and then I start to meet young musicians who are very interested in the music. So if they start playing blues or infusing blues in their music this music will live on.

How do you prepare for your recordings and performances to help you maintain both spiritual and musical stamina?

If I can a short 20 minute nap helps with that. If there’s no time for that I pull away for 10 seconds or so and say what my manager Miki (Mulvehill) told me what Luther Allison would say before he played. I say it before every performance now. “Leave your ego, play the music, and love the people.”

How would you describe your contact to people when you are on stage?

I’m old school like that. I like to entertain and reach out to the folks. I got that from the older blues guys I worked with when I was coming up.

Which is the most interesting period in your life and why?

Right now, cause it’s right now.

Why do you play the blues? What is the difference between acoustic and electric blues?

Because I love it and I love doing it. Well the obvious reason of course. As far as guitar players, I’d say that the acoustic players fingerpick alot more because they don’t have a band backing them up.

“It’s a way of life. It helped me overcome some troubles in my childhood and eventually helped me find a good way of looking at life. Sometimes I don’t and then I start to meet young musicians who are very interested in the music. So if they start playing blues or infusing blues in their music this music will live on.” (Photos: Doug MacLeod with Albert King & John Lee Hooker)

What experiences in your life make you a GOOD musician?

Well, being able to translate your life experience to music honestly and lots of practice.

What do you consider the world’s biggest problem of the world? John Coltrane said "My music is the spiritual expression of what I am...". How do you understand the spirit, music, and the meaning of life?

War! Well I think everybody comes here with a gift. And thing to do is give your gift whatever it might be. Musician, Mechanic, Plummer, Farmer. Whatever. Be the best you can be at what you came here to do.

What would you like to ask Skip James?

How’d you come across that tuning?

What mistake of music you want to correct? You have traveling all around the world. What are your conclusions?

People not playing with feeling. I like the people in the world.... the leaders? Well, I think we got to work on some of those folks.

Which of historical blues personalities would you like to meet?

Big Bill Broonzy and Tampa Red.

Do you remember something funny from studio with George 'Harmonica' Smith?

Goodness yes. We did a tune that George called ‘Sunbird’. It was about the space shuttle. During the song George blew a huge amount of air into the mic and damn near knocked Austin the engineer of his seat. Austin said, “George what was that!? “ George replied “That was the masonic boom.” He meant to say the sonic boom.”

Have you recorded your albums using a more old fashioned sound because you believe that there are no new paths of sound?

Naw, that’s just the way I do it. Go in and play.

To which person do you want to send one from your songs?

In the past I’ve sent songs to record companies and such. Eva Cassidy did Nightbird because she happened to hear it on the radio.

How was your relationship with Pee Wee Crayton?

Great. He was the godfather of my son Jesse.

“You’re gonna get headaches and heartaches in anything you do in this life, so the way I see it, you might as well do what you like.” (Photos: Doug MacLeod with George “Harmonica” Smith & Pee Wee Crayton) 

Do you believe MUSIC takes subject from LIFE? How do you describe your sound and your progress? How do you get inspiration for your songs? Who musicians and songwriters have influenced you most as a songwriter?

Absolutely! My sound is me and my progress is where me has taken me.

From my life. There’s alot. And they come from different places. Folks like Doc Watson, Jerry Butler, Jerry Reed, Jimmy McGriff, Kenny Burrell, Nina Simone, Tampa Red, Louis Jordan, Willie Dixon, that’s just a few.

Tell me about your meeting with Big Mama Thornton…

Well, she was pretty tough you know, but she liked me. She came up to me after the first set I played with her and asked me, ‘You like me?’ I said ‘Yeah Mama, I like you.’ (I was a little nervous there you understand). She asked, ‘What you like about me!? ‘ I said the first thing that came to my mind, I said, ‘Your eyes’. She said, ‘You like my what?’. I repeated ‘Your eyes’. She turned to George Smith and said: “George do you know what lil Dubb said?, He said he likes Mama’s eyes!” George said incredulously, “He do?” I could do no wrong with Big Mama after that.

Do you know why the sound of the reso-phonic guitar is connected to the blues?

I think because they were louder then the regular guitar and the blues musicians in the 30’s were playing acoustically in juke joints and they needed to be heard.

Who were your mentors in travelling blues?

George Harmonica Smith was a great one. He always said travel light. And being in the Navy for four years gave me a good idea of how to fold and roll you know...

How did you feel when artists like Albert Collins & Albert King, chose your songs? What do you feel is the key to your success as a musician?

Great and honored! Boy I don’t know, I guess that folks like what I do and I was lucky enough to learn from some of the best.

How has the music business changed over the years since you first started in music? What about as far as getting a song to an artist, how has that changed?

Let’s see - Recording has changed quite a bit. And iTunes and the whole digital thing has changed the way people buy music.

Not much I think except that a lot of artists are writing their own material now a days.

What advice would you give to aspiring musicians thinking of pursuing a career in the craft?

You’re gonna get headaches and heartaches in anything you do in this life, so the way I see it, you might as well do what you like.

Have you changed through the years? Any charges or overall evolution? And if so why?

Oh sure. With my song writing I’m really trying to make the songs/message more concise. Guitar wise. Just playing what I hear and feel. And trusting that. And remembering these sayings, “Taste and Space” and “When In Doubt, Leave It Out.”

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(Doug MacLeod / Photo by Jeff Fasano)