'60s '70s '80s - Warm, Candid, Classic Rock Interviews with Music Legends - A BREATH OF FRESH AIR

What happens when you keep doing what you love and stop chasing fame?
For Keb’ Mo’, it meant finding his own voice—and eventually becoming one of contemporary blues’ most celebrated artists.
In this episode, five-time Grammy winner Keb’ Mo’ joins Sandy for a warm, revealing conversation about the long road to recognition, the musicians who helped shape him and the personal upheaval behind his album, The Breakdown.
Born Kevin Roosevelt Moore, Keb’ Mo’ spent decades playing, writing and learning before his self-titled album brought him wider recognition in the 1990s.
He remembers wanting to make it in his twenties, then reaching his thirties and discovering that having a gig and getting to play mattered more than fame.
His mother had a different perspective: when was he going to get a proper job?
His musical education began early. At just 14, a steel-drum recording session brought him into a Los Angeles studio where he watched legendary bassist Carol Kaye at work.
Later, a chance encounter with Papa John Creach opened another door when the violinist and his colleagues heard Keb’s band rehearsing and walked in off the street. What followed was an opportunity to write, record and learn on the job.
Keb also recalls his time with the Whodunit Band under Monk Higgins, an experience he describes as a masterclass. Playing alongside seasoned musicians and backing visiting artists taught him how to listen, support a song and make the blues speak.
One guitarist’s blunt advice—that blues wasn’t supposed to be pretty—added another dimension to his carefully constructed playing.
Surprisingly, his deep exploration of acoustic country blues came later. Hearing Big Bill Broonzy at a friend’s house sparked a fascination with the honesty and directness of the music.
Robert Johnson and Son House became important touchstones, while theatre work gave him the chance to study and perform music from an earlier era. His aim was to develop a style of his own, carrying that same spirit of authenticity into his songwriting.
Another unlikely classroom was his work recreating hit songs for karaoke backing tracks. Taking recordings apart revealed how much their impact depended on simplicity: the instruments, melody and arrangement all served the story. It is a lesson he still brings to his music.
Keb shares how recordings he made alone, after his bandmates declined to work without payment, helped open the door to a record deal. He was already selling those cassettes at gigs, backing himself rather than waiting for a label’s approval. His enduring friendship with Taj Mahal, and their albums together, grew from that chapter of his life.
The conversation also explores what Grammy recognition means to him, his work with emerging artists and his belief that preparation and a clear sense of purpose can create opportunities.
For Keb, an award’s greatest value may be the person watching at home who suddenly believes their own dream is possible.
That perspective carries into The Breakdown, an album shaped by open-heart surgery and other deeply personal challenges. Keb reflects candidly on the physical vulnerability of recovery and explains why “Every Step of the Way” holds particular meaning for him: its gratitude embraces the difficult moments alongside the good ones.
He also shares the idea behind “We Make Love”—that compassion begins at home and spreads through the world through everyday acts of care.
Filled with humour, hard-earned insight and stories from a remarkable musical life, this episode explores the blues, songwriting, resilience and the quiet power of continuing to show up.
Listen to Keb’ Mo’ with Sandy Kaye on A Breath of Fresh Air, and visit https://www.abreathoffreshair.com.au for more conversations celebrating music, memories and timeless stories.

John Ford Coley: The Life, the Hits and the Story Behind England Dan & John Ford Coley
Some songs take you straight back to a moment, a place or a person. For millions of listeners, “I’d Really Love to See You Tonight,” “Nights Are Forever Without You” and “Love Is the Answer” are among them.
On this episode, Sandy Kaye celebrates the life and musical journey of John Ford Coley, the singer, pianist and guitarist whose partnership with Dan Seals, better known as England Dan, helped define the sound of 1970s soft rock.
Growing up in Dallas, Texas, John’s musical world stretched from church hymns and classical piano to country music and rock ’n’ roll. His friendship with schoolmate Dan Seals led to their early band days in Southwest F.O.B., before the pair forged their own identity as England Dan & John Ford Coley.
Their path to success included early recordings, an international breakthrough with “Simone” and the setbacks of losing a record deal.
When “I’d Really Love to See You Tonight” connected with audiences, the duo became familiar voices on radio around the world. Their blend of warm harmonies, memorable melodies and heartfelt songs produced a string of favourites, including “We’ll Never Have to Say Goodbye Again,” “It’s Sad to Belong” and “Love Is the Answer.”
John’s story also extends well beyond the duo.
Following their split, he pursued new musical partnerships, acting, songwriting and production.
He later captured his experiences in his book, Backstage Pass, while continuing to perform the songs that have connected with generations of listeners.
This episode is a celebration of a musical life spanning friendship, persistence, reinvention and the lasting power of a great song.
Songs from John’s career to revisit
“I’d Really Love to See You Tonight”

“Nights Are Forever Without You”

“It’s Sad to Belong”

“We’ll Never Have to Say Goodbye Again”

“Love Is the Answer”

“Simone”

Find out more
John Ford Coley: https://www. johnfordcoley.com
A Breath of Fresh Air: https://www.abreathoffreshair.com.au
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Some voices bring a whole era rushing back. David Surkamp’s is one of them.
Instantly recognisable for its soaring pitch and emotional intensity, his singing helped give Pavlov’s Dog a place in the hearts of listeners who wanted their rock music adventurous, melodic and a little different.
David joined me for a conversation some time ago and when I learned of his passing today, I thought I'd share it with you.
As many of us are accutely aware, David was the singer and songwriter behind one of the 1970s’ most distinctive bands.
Pavlov’s Dog made their recording debut with Pampered Menial in 1975. Combining progressive rock ambition with memorable melodies, the album brought together guitar, keyboards, violin and Surkamp’s remarkable vocals. Its opening song, “Julia,” remains a signature recording, while tracks such as “Late November” and “Song Dance” reveal the range of the band’s musical approach.
Produced by Sandy Pearlman and Murray Krugman, Pampered Menial offered a sound that was difficult to fit neatly into any one category. There was the energy of rock, the delicacy of quieter passages and a sense of drama that made the songs feel larger than their running times.
The band followed it with At the Sound of the Bell in 1976. Together, those first two albums became the foundation of a lasting cult reputation, keeping Pavlov’s Dog in the collections and conversations of devoted music fans.
At the centre of that identity is David Surkamp: a vocalist whose individuality made his work immediately identifiable. For longtime followers, this episode is an opportunity to reconnect with the man behind the records. For newcomers, it’s an introduction to an artist and a band well worth discovering.
Join Sandy Kaye and David Surkamp on A Breath of Fresh Air, celebrating the musicians whose songs continue to connect us across the years.
Explore more artist interviews and episodes at https://www.abreathoffreshair.com.au

A borrowed cassette helped spark Paul Simon’s extraordinary comeback. But the journey towards Graceland also placed him at the centre of a fierce debate about music, apartheid and the international cultural boycott of South Africa.
In this episode of A Breath of Fresh Air, Sandy Kaye speaks with author and music historian Ashley Kahn about his book, Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland.
Together, they explore how Simon found a new creative direction after the disappointing commercial reception of Hearts and Bones—and why South African township music captured his imagination.
Ashley shares the story of Simon repeatedly playing a cassette in his car, inventing lyrics over the music and deciding he wanted to record with the musicians he was hearing. When his record company suggested familiar session players, Simon insisted on pursuing the collaborators who had inspired him.
The conversation follows the project’s beginnings in Johannesburg in 1985, the musical relationships that continued in New York and the vital contribution of Ladysmith Black Mambazo. Ashley also explains how Louisiana zydeco, Los Lobos and the excitement of early rock and roll fed into Simon’s widening musical vision.
Alongside the creative story, we explore the controversy surrounding Simon’s decision to record in apartheid-era South Africa. Ashley discusses the cultural boycott, the musicians’ expectations around payment and credit, and the difficult questions raised when artistic collaboration intersects with political protest.
Marking 40 years of Paul Simon’s Graceland, this episode looks beyond the familiar songs to the people, decisions and tensions behind one of the defining albums of the 1980s.
Discover more interviews with the artists and storytellers behind the soundtrack of our lives at https://abreathoffreshair.com.au.

Step back into the unforgettable world of '70s pop as we welcom Philip Wright, original member, drummer and lead vocalist of the English band Paper Lace.
In this episode, Philip shares the remarkable story of a group from Nottingham that spent years working the clubs before suddenly finding itself at the top of the charts in Britain, Australia and America.
Paper Lace had been paying their dues for years when tv provided the breakthrough they desperately needed. Their appearances on the popular British talent show Opportunity Knocks introduced the band to millions of viewers and helped set in motion a chain of events that would turn them into international hitmakers.
The real explosion came in 74 with “Billy Don’t Be a Hero.”
Written by the songwriting team of Mitch Murray and Peter Callander, the dramatic story-song raced to No. 1 on the UK Singles Chart and also became a huge No. 1 hit in Australia.
Suddenly Philip Wright and Paper Lace were experiencing the kind of success they had spent years dreaming about.
But the story took a fascinating turn in the US. American group Bo Donaldson and the Heywoods quickly released their own version of the song and took it to No. 1, effectively stealing Paper Lace’s American thunder.
Paper Lace didn't have to wait long for their own US triumph.
Their next major release, “The Night Chicago Died,” became an enormous international hit and took the band all the way to No. 1 in America.
Its colourful tale of Al Capone-era Chicago and gangsters made it one of the most distinctive story-songs of the decade. Despite taking considerable liberties with Chicago history, the record captured the imagination of millions and remains one of the songs most closely associated with '70s pop music.
Philip also revisits another Paper Lace favourite, “The Black-Eyed Boys,” which continued the band's extraordinary run of success in '74, and reflects on what it was like to go from years of relative obscurity to international fame in such a remarkably short period.
This conversation goes beyond the chart positions and gold records. Philip takes us inside the experience of being a member of Paper Lace at their peak: the relentless work that came before success, the excitement when it finally arrived, and the reality of trying to sustain that momentum once musical fashions began to change.
Philip reflects on what happened as the original Paper Lace line-up began to change and the extraordinary ride of '74 gradually came to an end. The Paper Lace name continued, and the band enjoyed another memorable connection with their hometown when they joined forces with Nottingham Forest Football Club for “We’ve Got the Whole World in Our Hands” in 1978.
The story didn't end there for Philip Wright. After the peak Paper Lace years, his life took some unexpected turns before music drew him back. He later became lead vocalist with the re-formed Nottingham band Sons and Lovers, eventually returning to the music and legacy that had made his voice familiar to millions.
More than 50 years after Paper Lace's extraordinary breakthrough, “Billy Don’t Be a Hero” and “The Night Chicago Died” remain enduring reminders of an era when a three-minute pop single could tell an entire story.
For anyone who grew up with the music of the 1970s, these songs can instantly bring back a particular time, place and feeling.
In this warm and revealing conversation with Sandy Kaye, Philip Wright looks back at the highs, surprises and challenges of the Paper Lace story and shares what it was really like to experience international pop stardom from the inside.
If you remember buying Paper Lace records, singing along to “Billy Don’t Be a Hero,” or hearing “The Night Chicago Died” pouring out of the radio, this episode of A Breath of Fresh Air is a nostalgic journey back to one of the most colourful chapters in British ’70s pop.