Rod MacKenzie Biography

His long and winding road has led him from his childhood home in England, to the isle of Bermuda, to the ski resorts of New England and, finally, to southwest Florida. Along the way he has rejected and regretted taking a chance at stardom, procured a degree then left it behind, and missed out on a cushy pension from the road not taken.
The amiable, garrulous Scot is nearly as entertaining between songs in his sets as he is performing. Though his full, deep voice serves his folk/rock/country play list well, and he gives himself rich accompaniment on guitar, he’s also liable to banter with his crowd, exchange witticisms and memorably alter lyrics of the songs.

But MacKenzie wouldn’t trade a second of it, and in a free-associating interview, he candidly addresses chances, choices and being a jerk.

Q: How did a Scottish-born Englishman with a chemical engineering degree wind up in Southwest Florida as a full-time musician?

A: At age 7, I knew with certainty what I was going to do. I told my parents, who were by no means happy to hear of my career choice, and as I refused to be dissuaded, a large can of worms appeared in my life. After getting a degree in chemical engineering to prove to my dad I wasn’t a complete idiot, off I went! I answered an ad in Melody Maker magazine that said, “Two lively folk singers wanted in Bermuda.”
Had I not left when I did, I would probably still be there amongst the chemicals and pollution, and I cannot imagine what my life would have been like. Unfulfilling at best.After my first year in Bermuda, the company I worked for thought I had something. They sent me to London on a three-year contract and a small salary and hired a manager for me. His name was George Harris, and I bless him forever. He managed to get me a contract with RCA Records, and I did a demo for them in Air Studios when it was a dank, airless basement. I recorded five tracks in two hours. They thought I was the second coming! Unfortunately, so did I. God, I was a jerk
I was married at the time to one of Hitler’s children, and it was all downhill. “For better or worse” is the sad cry, and as I was brought up to be responsible for my actions, I turned the offer down.

I went up the stairs at RCA London on Curzon Street, past framed posters of John Denver, Elvis Presley, Cleo Laine, etc. and thought of being on that wall. The contract was given to me to sign and I gave it back. You don’t get two chances like that. I still think, however, that I did the right thing, if only to salve my conscience.

Q: Tell me about your beginnings, evolution and influences as a musician.

A: I took up guitar about the time Bob Dylan and Donovan, etc., appeared over the horizon. There was a huge folk-based resurgence, and because I wanted to sing I figured it would help. I am self-taught, and I don’t recommend that path. I play chords in strange ways, as I didn’t know the correct technique. To anyone starting, force yourself to learn the basics, as the discipline will pay off in spades later on. Musical influences? My parents for telling me I was not going there, The Beatles, John Mayall’s Bluesbreakers, old Fleetwood Mac, Jethro Tull ( the ultimate folk-rock band), CSN&Y, Neil Young.... It dawns on me that I could fill an entire page with musical influences.
Impacts? Seeing Jimi Hendrix in a room with 20 people present, the Isle of Wight second concert, seeing an old acquaintance, Dave Coverdale, become a legend.... Again, so many.

Q: Covers versus originals:What is your specialty?

A: I do covers because they have kept me employed in my career of choice. (Being a greeter at Wal-Mart is not for me; I would rather resort to a life of crime). I have, however, written around 200-250 songs over the years. The reason I never play them out is simple. Writing down your thoughts exposes you to the rest of the world. Expressing them to an audience is daunting. I played a lot of my originals when I first started, but nobody listened or clapped. Erroneously, I assumed that the material was crap and no one liked them.

It didn’t dawn on me until years later: Audiences were simply unfamiliar with the song! I would reassure myself that I was doing OK by then playing “Margaritaville,” which everyone responded to, and so over the course of time, I eased them out of my repertoire.
In a concert situation however, it’s pretty much all I do. I guess I want people to know I’m not a jukebox. I would dearly love to do a concert (of originals) soon. I miss them.

Q: Talk about music machines. Why don’t you use one?

A: It is a fact that the general public wants to hear a song with all the bits. They don’t care about the quality of a player as long as there is accompanying noise. You and I have both seen horrendous usage and effective, clever usage of music machines, but the end result is still the same. The good-time drink with the stupid umbrella is all that is necessary for bad or good to be equal. I say again, if you know “Margaritaville,” you will get a response no matter how well or how badly you play it. That and “Hot Hot Hot,” “It’s Five o’clock Somewhere,” etc. Now for what you really wanted me to say. I LOATHE the bloody things! They have no soul. Give me a live drummer and bass player getting demented behind me who FEELS any day of the week!

Q: What are the best and worst aspects of being a live musician?

A: What makes me happy at a gig? When someone asks me for some song I don’t always do. I love to hear, “Any John Prine?” That always opens up a whole big genre of music I love to play. Pink Floyd is another that does the same. My biggest “curse” was not being able to stick to one form of music. I simply love it all and try to encompass as much as I can with the tools at my disposal.
Cringes? Any form of rap, deejays, music machines, music machines, music machines. Songs: “American Pie,” “Margaritaville,” “Stairway to Heaven” and the ultimate curse of the live musician, “Freebird.” I get “Freebirded” at least once a week, and I find it astonishing that the people who shout it out think that they’re incredibly funny and original.
Speaking for most live players (make that all players), we just want to be listened to and appreciated. Audiences generally don’t realize that by clapping and showing appreciation, any performer will play until their fingers bleed and sing until they are hoarse. Being enjoyed and sensing that fact brings out the best in you. Lethargic audiences just bring down the level of your skills.