Chris Wade - Interview

  by Malcolm Carter

published: 8 / 7 / 2025

intro

Dodson and Fogg frontman Chris Wade has just released a memoir,, ]Adventures in Music Books and Film'. He talks to Malcolm Carter about it and his many projects, including, as well as recording albums, making films and writing books about film legends.

It’s always been a pleasure to put a few questions to Chris Wade. The multi-instrumentalist, recording artist, author and general all-round good guy is one of our most talented home-grown truly independent artists. Wade, under his Dodson & Fogg alias, has released over 40 albums since 2012 and that doesn’t include various other musical projects he’s created. Many have not been the usual CD or download either; at times the music is accompanied by a DVD or a book. There are Wade’s films. For the most part surreal but never less than fascinating. Everything Wade has so far released that was created when he had his filmmaker’s hat on is worth spending time on. Each project has been captivating to say the least. Then, there’s Wade’s ever-growing library of published books. Mainly covering films and music, the artists he chose to put pen to paper about are not necessarily ones that come immediately to mind if, like me, your introduction into the Wonderful World of Wade was through his music made under the Dodson & Fogg banner. Although some titles are obvious choices, there are many more that show how diverse Wade’s interests are and how deep his knowledge of his chosen subject is. Despite such a varied catalogue of books, one that many of us really wanted was one about the very author, Chris Wade. Although here at Pennyblackmusic we’ve interviewed Wade a few times, it’s been mainly about his music while also touching on this filmmaking a little. But we’ve never really dug too deep into Wade’s past; how he came to develop into such a fascinating character who never fails to deliver no matter which of the arts he’s chosen as his latest project. Thankfully, Chris Wade has now rectified this with one of his latest books. Like his past Dodson & Fogg music releases, Wade finds it impossible to issue just one book or album a year. So we’ve been treated to a book concerning Charles Dickens’ later years, and another relating some of the ghost stories that have originated from Leeds so far this year, along with the one we’ve been waiting for: Wade’s memoirs, ‘Adventures In Music, Books and Film.’ It's a fascinating read and one for which that time-honoured cliché ‘impossible to put down’ was made. Wade’s sense of humour was never too far away in both his writing, his films and in our previous interviews with him. Thankfully it’s also present in his asides in this book. But then, with tales which involve his meetings with Rik Mayall and Nigel Planer, what should we expect? The book reveals such a lot about Wade that it’s essential reading for everyone, not just those who have had their lives touched by his music. It really could be a story about many of us. He had a normal childhood and loving parents which has obviously given him the platform to follow his dreams and vision, but the difference is that Wade took the chance. So many don’t follow their dreams; don’t dare to make that call, don’t dare to make that trip; but Wade did. He still is. And he’s an inspiration to us all, no matter what age. But apart from coming away from the book inspired that this Leeds lad could spend his life creating music, film and authoring books and doing it all his way successfully, the reader gets the impression that the biggest question of all, one that Wade never directly answers, is why this talent that we call Chris Wade is not more well-known. As famous as those he writes about or gets to contribute to interviews for his books or contribute to his music for example. But then, while pondering over the book, which is inevitable once you’ve finally put it down, you realise that this is what Wade wants; just the chance to get his music, films and books out there to whomever is interested, and a man who is doing it just for the sheer pleasure of fulling his dreams and pursuing his passion. I’m left with the feeling that Wade, although he obviously would like to reach a wider audience and maybe sell a few more copies, is more than happy with his lot and the following he has built up. Wade’s a true independent artist, long may he continue doing all he does. Once again, Wade found the time (another question we don’t get answered in the book, how the hell does he fit all his various projects into a 24-hour day?) He’s 40, has a partner and a young daughter, who also has had a book published, and presumably, has the same everyday problems as all of us, so what’s the secret? Thanks for your time, Chris, and for what has been the most informative and fascinating book I’ve read in a long time and most of all for the inspiration all your projects give to us. PB: We at PB have done a few Q & As with you throughout the years but we have never really explored your past, except for maybe your musical influences, so this book of your memoirs is more than welcome. What inspired you to choose this moment in time to write about your life up to this point? CW: Well, I started it as a kind of work diary, just for myself really. Over the years I’ve written down experiences just after they’ve happened so I didn’t forget all the details and the memories. I started looking through it one day and realised it was getting quite long. I’m only 40 now, but I’ve been writing, making films and doing my various projects for about 17 years. Some people have been telling me to put together a little book of my experiences and one day when I was having a read of it, I realised it might not be too bad an idea. It isn’t because I’m well known or that I feel that my life is so fascinating that it deserves writing down; it was more to do with the actual work experiences which I thought might interest some folk who’ve bought my music and books down the years. I hardly ever talk about my work because, frankly, in daily life hardly anyone asks about it or seems remotely interested on any level. It was only when I saw it written down that I thought some of it might be of interest. Also, I wanted to put a book together that encouraged creative people to give things a go, not to wait for gatekeepers to tell them their book or music is good enough. Get out there and give things a try. PB: The whole book is a fascinating read; revealing just why you took up not just one of the arts, but also those which inspired and helped you on your way. Your father (we’ve mentioned in the past how impressive he was in some of your films) supported you in so many different ways. But aside from his support, you write that maybe if your bleeding disorder had not kept you indoors as a child, you might have explored totally different hobbies. While having Haemophilia was certainly not a blessing, being at least part of the reason you developed such a passion for a variety of the arts, you can’t regret never being a footballer, for example? CW: Well I can’t stand to even watch 30 seconds of football so there’s no regrets there. But yeah, you’re right, I do think having that disorder made me focus more on activities I could do indoors on my own. We are who we are, I believe, and I can’t imagine my life being any other way. I just always wanted to write books, make music and make films. The fact I do them on any level at all is a thrill to me every single day. While my daughter is at work, I’m usually indoors writing, recording or running my online collectable shop. I keep myself busy. PB: The detail you go into about how you contacted artists from film and music for your books is both inspiring and interesting. It seems like most artists you approached were only too happy to be approached and willing to take part. It must have taken some courage on your part to even make contact with those who are, for the most part, your heroes? CW: It’s weird, because from the start I just wanted to connect with people whose work I admired, if either to interview them or hopefully collaborate. When I do the initial asking, which is usually by emailing their agents, I don’t feel nervous because I am never sure what the response might be. When they say yes, which is always a lucky thing for me, I still don’t feel nervous. It’s only when I am about to meet them or about to dial their number that I get the butterflies in my stomach. But as soon as I hear their voice or see them in front of me, I relax completely. I was surprised about that from the word go. I have to remind myself that they are happy to talk to me or collaborate so I don’t really have anything to be nervous about. I remember first meeting Rik Mayall, who I did an audiobook with; I was nervous waiting for him to arrive. I was sat in a posh room at his agency and I heard him come in down the hall. Then he appeared round the corner and as soon as I saw his face and warm smile, I was at ease. It was the same with Oliver Stone the film director. As I dialled his number my stomach just dropped. But he was really nice and I had nothing to be nervous about. PB: The section in your book about Scarlet Rivera is quite moving and, again, inspiring. Her contribution to Dylan’s ‘Desire’ is what, I feel, one of the reasons the album is regarded so highly. Was Scarlet agreeing to contribute to ‘After The Fall,’ one of the highlights of your career, even though so many great artists have collaborated with you? CW: God yes! It was unbelievable. I’ve loved that album since I was a kid, in my early teens. It was ‘Hurricane’ I heard first, in the film ‘Dazed and Confused’ actually, when I was about 8 or 9, and then I got the vinyl for my birthday one year. I just fell in love with the sound and the feel… and of course with Scarlet Rivera’s violin playing. I had this dream that I did a song with her; I could hear the song in my head, every detail of it, even how I mixed it. It was a song called ‘You’re an Island,’ which my partner, Linzi, wrote the words for. I woke up, found a contact for Scarlet, and asked if she'd like to hear the song. Someone answered me, I can’t recall who, and I sent an MP3 across. Scarlet herself got back to me saying she’d love to do it. I’ve since told people that she appeared on one of my albums and they can’t believe it. They talk about her as if she’s some weird elusive mystery woman who’s impossible to get a hold of, but she’s always been really nice to me. I’ve interviewed her a couple of times as well. Great woman, great artist. Definitely a highlight of my life, for sure. PB: You mention that none of your albums have troubled the charts; we get the feeling that doesn’t bother you. Your music is out there and obviously appreciated by many music lovers. It’s unusual for a musician not to desire fame and fortune (I remember, I think it was Francis Rossi, many moons ago, saying that most artists get into bands and make music for the fame and women), but you seem more than content just to get your music and books out there without the celebrity status most crave. CW: Well, when I was a kid, the thing that interested me was the way music was mixed and recorded, and I always listened closely to music, how it was played and everything. It was the production that interested me, and the mixing. I also loved just holding an LP sleeve and used to dream about having my own music on a record or CD one day. So for me, I had no idea as a kid, that people made money out of it or got to hop into bed with loads of shallow groupies while high on drugs When I found out about that stuff, it didn’t interest me. I just liked the idea of playing music, recording it, mixing it and then having a CD at the end of it all. The fact that anyone at all buys my music, given the fact I just record it and put it on my bandcamp and website, is a miracle to me. I love it when people download my albums and see it as an honour to be honest. I have no interest in being well known though. I just want to be able to keep on experimenting and recording whatever music I fancy doing. It’s all so much fun to me. PB: While it was your Dodson & Fogg music project that introduced PB to your many talents, your books have not gone unnoticed. One thing your memoirs has done is highlight just how many of our own musical heroes you’ve worked with and interviewed. While you have great enthusiasm and respect for most of your collaborators, is there one particular artist you are most proud to have worked with? CW: I think some of the interviews were really special for me when I did them, like Wilko Johnson, Donovan, Ian Anderson, members of The Velvet Underground, Dave Davies of The Kinks, and other people. But of all my collaborations, the one that meant the most was working with Celia Humphris, who was the singer for the UK folk band Trees. I had always loved their music growing up when my dad played them and thought Celia had the most beautiful voice. I interviewed her for my old magazine ‘Hound Dawg’ in about 2009 and then reconnected with her, asking if she’d like to sing on the first Dodson album. The fact she even said she’d listen to the songs was amazing to me, nevermind the stuff she actually recorded for them. From the first collaboration, it was just really special and profound. She was a lovely woman, too. I am so sad she passed away. I also love the track I did with Toyah back in 2016, and the work I did with Nik Turner from Hawkwind, who has also sadly passed away. There are a lot of musical collaborations and interviews I look back on fondly, but these are the ones that spring to mind. PB: In the book, you mention that receiving accounts about how Neil Young works, from those who have worked alongside him, was inspiring. One of the most important facts about your memoir is (and you touch on this yourself) that your work, and especially your memoir, actually inspires the reader to follow their aspirations. CW: I really do hope that the book might inspire people to give things a go, to write the book they’ve been meaning to write, or start releasing their own music. Doing things your own way won’t get you lots of money or fame (if that’s what you crave), but it will give you total freedom and contentment. I argue, if you aren’t doing it because you actually enjoy the work, you’re probably in it for the wrong reasons. PB: The chapter, ‘Movies, Documentaries and Other Projects: 2017-2019’ was particularly captivating. As mentioned, it was your music that initially sparked our interest in your work, but your knowledge and enthusiasm for film and those associated with filmmaking really shines through there. As you haven’t actually lived through the era, and many of your heroes were at the peak of their careers, you must spend a lot of time researching your subjects? CW: When I’m writing a film guide or a book about a specific film, I do a lot of research, definitely. I usually just work on one book at a time and immerse myself in the work, read anything I can about the subject and interview as many people as possible. First-hand accounts are always the most interesting and fun part for me, because hearing the stories from the people who were there is fascinating. My favourite film interviews have been: James Woods, Donald Sutherland, Sharon Stone, people who were my heroes growing up. PB: One outcome of reading your memoir is that we come away with the intention of checking out some of the numerous films you write about, at times, the feeling that we should revisit or even check out a certain actor or director’s whole body of work due to your enthusiasm. So, you’re certainly getting your message across! CW: That’s great! There are so many great films, actors and directors who get buried in time or not spoken about much, so I’m glad my projects might encourage people to seek them out. PB: Unrelated to your memoirs, it’s just come to our notice that you’ve only released one CD so far in 2025, ‘Over The Way.’ Is any more Dodson & Fogg music planned for 2025? CW: I’m just starting to get some song ideas this week actually. I’ve been farting around with the acoustic and getting some melodies going. I’m just finishing off a collection of short stories, too, and I am planning to do a set of instrumentals to go with them. I’m really into writing stories at the minute, but I will definitely get the old instruments out again soon… even the bongos!

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