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Harold Brown's interview

Coluna Blues Rock is a website that brings new material in Portuguese, it is an arduous but pleasurable mission. Some interviews are difficult, others simply flow, easy to extract from the musician. Rare times when the interviewee opens his heart and tells everything in detail, in these opportunities it is difficult to translate into Portuguese. We are all lucky, as that moment happened precisely in an interview with the legendary War drummer's Harold Brown! Sincere, humble, friendly, the musician told EVERYTHING of his life without leaving out anything: the beginning in music, the difficulties (and almost giving up), the relationship with Eric Burdon, the walks around London with Jimi Hendrix on the eve of his death, hit records... Wow! Exciting!I Apologize to Brazilian readers who do not speak the English language, excuse my inability to translate this historic conversation. Read slowly, use Google Translate, but be sure to read!

Ugo Medeiros - What was your first contact with music, as a child?

Harold Brown - My father Clyde R. Brown had served in WWII in the United States Army. After being wounded he was sent to Long Beach California Naval Hospital. He sent for my mother Icelo Carter Brown out of Tuscaloosa Alabama. I was born in Long Beach California on St. Patrick’s Day 1946, name after the man that saved my father’s Life on Gun Beach in Gaum 1944. His name was Lieutenant Harold Ray Jamison. My parents having parties at our home on the Corner of 21st and Lemon Avenue in Long Beach, California. Relatives and neighbors would come over for a Friday/Saturday Night Parties and be eating, playing cards and Dancing.I can remember my mother Icelo Carter Brown playing a lot of music on the radio and had one of the few Record Players in our Nationhood. It played the Old 78 Records, which were very brittle and about the size of a dinner plate. I learned how to work the record player. In those days the record player would record and play back. It was away to record a message to their loved ones and send it back home so they could hear their voices. I can remember some of the people coming over to me and Saying you sure cute what are you doing and I would look at them and say, “I AM WRITING A SONG!” This was about 1949-1950.

When I was about 7 years old, I was laying on an upper bunk bed sharing one bed room with my 4 Brothers (Clyde Junior, Kenneth, Larry and Dwight) and listening to Texas Tiny on FOX Radio located on Orange and Alamitos Street in Long Beach. He would be playing Johnny Cash, Big Mama Thornton, Johnny Otis, Fats Domino and many more. I would be laying there “FANTASYING” THAT I WAS THE DRUMMER “Harold Ray Brown” for at least an hour or two. One night the Spirit came to Me and Said, if you would spend at least an hour to two hours a day you can become that DRUMMER in the Band.

UM – How/when did you begin to play drums? At that time, were jazz drummers your major influences?

HB - I had been playing violin for a couple years in elementary school. I/we (My four brothers and one sister) were going to Public Schools, then in 1957 my parents decided to send all six of us to a Private School. First Lutheran in Long Beach California. We were the First Black Family to attend the Church and School. The Five minutes that Changed my Life took place in the Gym/Auditorium at First Lutheran School. Our Principal Mr. Alvin J. Hahn had a few instruments in front of the stage. A Piano, Violin AND YES! That Snare Drum… DRUMS that’s what I had been wanting to play. I can remember it today in 2020 as if it happened just a few years ago. I was all the way in the back with my fellow students when Mr. Alvin J. Hahn ask, “Who Wants to Learn to Play Drums?” I, hollered Out! “ME, ME, ME!". Principal Alvin Hahn said, “Come on Up!” I left my set and ran up excited. He had a Snare Drum on a stand, pair of drum sticks, some music on a stand and showed me how to Hold a pair of Drum sticks. Who would have thought that “5 Minutes” was the beginning of my DREAM? Not Some One Elses Dream, But Mine! Not long after that, the violin I had stashed up in some closet. I went and got it and went Morey’s Music located downtown Long Beach California and traded it in for a Snare Drum, Stand and a Pair of Sticks. I didn’t tell my mother what I had done with the Violin till We got our very First Hit “Spill the Wine”.

As for drummer that influence me, we didn’t have a lot of Jazz Drummers. Most drummers around our neighborhood(s) were more Blues, Gospel, Swing, Funk and Latin influences. For instance, I can remember being at Jeffty’s Cocktail Lounge in South Los Angeles and I was only 17 maybe 18 years of age and there were a lot of entertainers coming in and playing a few numbers. Such as Johnny Otis, Big Mama Thornton, Don and Dewey, Sam Cooke, Eta James, James Brown and a lot of the Old Southern Blues Artist coming through. A lot of the Swing Jazz players could do the Blues Shuffle, so they would call me to come up, I had learned that from a lot of the Old School Drummers from (Mississippi, Alabama, New Orleans, St. Louis and Chicago), which were the Blues Highway… A long the Railroad Tracks East to The West and the Mississippi River South to North on the River Boats. And was bless to be in the Los Angeles/Hollywood Area. About 1960 I had learned that Benny Jackson a drummer had traded in his drum set for a new set at Morey’s Music. I went to the music store and there they were. “A 22 Inch Bass Drums, Snare, Side Tom, Floor Tom, a couple stands including a Hit-Hat stand". He wanted $195.00 for the set. I had put down about $25.00 and went and got me a job at a Car Wash and paid them off. So, for me Harold Ray Brown I had the advantage of growing up in a very Eclectic Society. All Nationalities, Radio, Television, Bars and Churches.

UM – How did you meet Howard Scott?

HB - After I had bought me my drum set, I had started trying to play some after school Sock Hops, Community Jams. I was playing in our garage one day when Charles W. Miller (The Original War/Sax, Flute & Vocal on Low Rider) heard me and came in. He offered me a gig. I played and got paid, but I was to young. Charles W. Miller was 7 Years older than me. We met up later, HELLO! Back in those days because I was not 21 Years Old and was not allowed in Bars, except under certain condition I had learned. “If they served Food and I/we would stay in the eating part or dressing room we were OK". Well one early evening I got a call from the two Brothers that were musicians. One played Piano and the other Sung and played sax. Went I had gotten to the Cozy Lounge located at (Orange & Alamitos) here in Long Beach, I got my drums set up and looked over to my right and there was this young bass player. When the break came, we headed to the dressing room and started talking and It Was HOWARD E. SCOTT.

I had been trying to form a band. I had met Big Mama Thornton, Charles W. Miller and some of my neighborhood fellow musicians. So, day I had ask my Father would he take me up to Compton, California so I could meet up with Howard. I wanted to talk with him to see if how we could set up a band. Wow, that was about 1962… So, put us a Band together and Called ourselves The Creators, because we would play other artist music, but then we would Jam and add our Flavor to the Music. We played as the Creators playing everywhere. Howard and I Graduated from High School in 1964. I had just turned down a full Scholarship to a Famous University. Instead I started my very first business when I was 18 Years of Age here in Long Beach California. I came up with a plan to Pursue “MY DREAM” Not Some One Elses. I had cash flow, transportation and a DREAM! I got the Creators to Join the Musicians Union Local 47, Yes, the Musicians Union Local 47 in Hollywood California on Vine. That was the best Move I/we could have made in 1964. They liked us because we came in dress and organized as a business. In fact, we were one of the First Black Bands to be booked on the Sunset Strip. Whisky Agogo, Gazzarri’s, Teen Fair at the Palladium and working with Bob Eubanks in a few of his Clubs. We were asked to be Otis Redding’s Band June of 1965. We had just been offered to play at the Thunder Bird Hotel $500.00 Each a week, then Howard Scott got Drafted. Ouch!

Things started going in different directions 1966-1968 Howard E. Scott got Drafted the Vietnam War in full swing. I started working as a Machinist, I found that I could make more money working the “Night Shift”. He finally made it back Home to Compton in Early 1968. After a few days of him being back from the Army, him and I met up and we decided we would give one more Shot and if we did not succeed this time, we both would go on in our own separate directions. We started putting together a Band again, we found a few of our fellow musicians that were still around. I thought a great name for our new group should be “The Night Shift” since I had been working at nights. I sold off all my machining tools, so if things got stuff I couldn’t just run back to the shops and bought me a new set of drums from a mail order catalog. $199.00, The drums you hear on "SPILL THE WINE”.

UM - And what about danish harmonica player Lee Oskar?

HB - Things had gotten very stuff. We had been playing various casuals, but the money was just not coming in. I was down to my last $7.00 and about to be Foreclosed out of our home. I went to go look for a Job, when everything Took a Turn for the GOOD. I was driving south on the Hollywood freeway and need to find a rest room, when I took a right turn heading west on Sun-Set Boulevard. I started thinking of some of the Record Industry People that I had developed a relationship with. One was Marshall Leib. Little did I know that I/we were on our way to My/Our “DREAM”. I went to Liberty Records, which was across from Hollywood High School. Marshall was not there. They told me to head towards Doheny and Sunset at the 9000 Building. Jim Heads Production, this is where Deacon Jones the famous Foot Ball was with the LA Rams at the time. Marshall Leib was not there, but the secretary says to me, Marshall across the street in that little white house where Doheny and Sunset meet. I ran on over the little white house. There was a secretary behind the desk looking like Lucille Ball (I Love Lucy). I could hear Marshall talking in his back office with someone. I just started walking back the secretary saying you can’t go back there, Me saying, no it’s Ok he wants to see me. When Marshall realize it’s me, he says come on in Harold. Sonny this is Harold Brown, Harold This is Sonny Bono. Wait for a minute.

After, my brief meeting with Sonny Bono. Marshall ask me go to the studio with him. He would have me come into the studio and do over dubs on Drums. Little did I know that God was prepping me for the Future. We were at the Famous Art Laboe Studios (Sunset & LaBrea). I went in and he got a call from Timi Yuro needing a drummer. Well I was down to my last $4.00 and just maybe this is the break. I went into her home up on Kings Drive in Beverly Hills. There were other musicians setting around her. I could hear them saying things like, “We need strings, we need transportation, we need this and that!”. I said to myself I am not Leaving our Band the “Night Shift”. I will just go back and tell Marshall call Timi Yuro and let her know, “We got a Band Ready to Go!”. I made it on back to Sunset Art Laboe Studio. When I arrive back there was a Young Man depressed, saying they always do this to me. I, responded saying what’s wrong. He responded saying, they took my Band and I got these dates and no Band now. I, responded, “You Got Dates, I/we have a Band name the “Night Shift”. The Young Man’s Name was R. B. Greaves, before he made his First number One Hit “TAKE A LETTER MARIA” 1969. I ran to the Phone Booth drop a dime in the box and called Howard Scott. He got the guys on the phone we started rehearsing at Studio Instrument Rental, located on Santa Monica and Vine. One day when I came walking out of the rehearsal room who would I run into my “Big Brother Charles W. Miller”. Wow, God has perfect Timing.

So, by this time we had built a Re-View Called The Deacon Jones Review since He was a very famous FootBall Star with the LA Rams and Just release a song called “Lover and A Pro” R. B. Grieves, Howard Scott, Lonnie Jordan, Sylvester Papa Dee Allen, Charles W. Miller, Peter Rosen, Tjay Cantrelli, Mosses Wheelock in the band, 3 back ground Singers. We were the house Band for the Rag Doll in North Hollywood mid-1968. Our bass player at the time kept telling us that he had very good friend by the name of Eric Burdon and Jerry Goldstein and they were going to come and hear us. Well it was our last weekend and Word went buzzing around the room that Eric Burdon was in the Rag Doll. I knew some of Eric Burdon’s Songs “Sky Pilot, House of the Risen Sun” of which I heard on the Radio while working in the machine shop(s) and now he’s here to Hear us Perform. “DREAM”.

We the “Creators/Night Shift” have always been a ‘JAM BAND”. That night was a Saturday Night. The Rag Doll was Jammed Packed. In between Songs a Young Man came towards the stage with a Natural Bigger Than Mine… I really did not know what Eric Burdon looked, but this young man with a Harmonica in his hand came to the stage and Said, “Can I Play My Harmonica with You?” We said, SURE! Come on Up. We started off playing a Blues, then it went into a 6/8 African Groove, then an Old School Blues Shuffle and Back to The Blues. By the time we finished there was not one Setting… Everyone was Dancing or Shoutin’ for More! It was our last gig as the Night Shift, but a night we will never forget. SHOW TIME! It Don’t Mean a Thing Unless It’s Got that Swing and to this Day, we still have that Swing Together. AMEN!

UM – War was insane! What a band! Jesus, you guys were like funk heavy metal! The energy, the groove, powerful music and atitude. First of all, the band sent a message: we’re all brothers, equals. How did you know Eric Burdon?

HB - When we had our band the “Night Shift” our bass player Peter Rosen kept telling me he knew Eric Burdon from the Animals. I met Peter Rosen through a Sax Player Tjay Cantrelli. Tjay played with a very famous Rock Group called “LOVE” (1966-1967). They were part of the Rock Scene. Peter Rosen was working with a poster company called “Far-Out Production”. They made poster and adds for a lot of groups and artist. Jimi Hendrix was one of there clients among many others. The first time I actually met Eric Burdon was at a pool party the following day of our show at the Rag Doll, which was on a Sunday after-noon in Laurel Canyon. I can remember it well going out by the swimming pool and Eric Burdon had on his Black Swim Suit and wearing his Ray-Ban Shades, Looking Very “HOLLYWOOD”. The First thing I can remember him saying he got beat out of a Million Dollars. I said to myself how Hell Do anyone get Beat Out of a Million Dollars… Well Sadly, I Know Now. The Old Hollywood Shuffle! One of the most impressive things that I learned from Eric Burdon to this day is how he got us to use all of our Talents. Yes, all of our Talents. Before we ever went into a rehearsal room Eric would have us set down and we would listen to all of his favorite types of Music. From Muddy Waters, John Lee Hooker, Little Walter, Bo Diddley, Rolling Stones, Bob Dylan, Thelonious Monk, Johnny Cash… Just All Types of Music. That’s why no one could Pigeon Whole Us. With our Music It Made Us Realize We are More alike Inside Than on The Out-Side… Thank You, Big Brother Eric Burdon.

UM – In my opinion Eric Burdon was the most versatile singer on rock and roll, he could sing rock, soul, blues. That english guy was an amazing singer. Could you talk about him?

HB - Well one thing I learned here in American/USA, we had what they called “RACE MUSIC”. Certain Radio Station in designated areas were only allowed to play certain types of Music. A lot of American Black Musicians had to go to Europe in Order to get Proper Acknowledgment for Their Music. Such as Rahsaan Roland Kirk, whom I had never Heard of Until Eric Burdon had Turned Us on to Him and many more. This is why Eric Was and Is Such a Versatile Artist. For instance, Big Mama Thornton had released a song called “HOUND DOG” Released in 1953. She told me she had written on a paper sack. It did not become a hit till Elvis Pressley did it. Also, The Dancing that went with the Music “Gyrations, Booty Bouncing, rolling your Hips and Eye-Balls" was not Proper in Certain Communities. It was considered Dirty Dancing… LOL!

*Elvis stole the song “Hound Dog” from a Black female blues singer named Big Mama Thornton… This woman got no credit for her song for decades!”

UM – I once saw in a documentary that the black community was not so much interested in rock until Hendrix formed Band of gypsys, an All black band. Did Hendrix really help the acceptance of rock by black communities? How was the reaction to the beginning of War with an Englishman on vocals?

HB - During the early 1960’s the music in African American communities was going through Osmoses. We were being influenced by BB King, James Brown, Little Richard, Wilson Pickett, Otis Redding, Jackie Wilson, The Beatles, Rolling Stones and Eric Burdon & The Animals. All types of music were merging together. As for Jimi Hendrix, I preferred “The Experience” (Noel Redding and Mitch Mitchell). They had a very unusual merger of Culture. It was like A “Special Stew” … A Little of This and a Little of That. Pick Out what You Want and Enjoy It. To me it just didn’t have the same taste. Yes, Billy Cox and Buddy Miles both are some of the finest Musician you could have. It reminds me of the Musicians that are Touring as the band WAR at this time, with only one Original member that recorded all of the Hit songs. The Musicians are excellent musicians, but they don’t have that “THANG”! And to answer the question, “Did it help the acceptance of Rock Music in the Black Communities?” I, don’t recall that it really made a big Boom. I know that it did help Buddy Miles to get a Foot Hold in the Black Communities.

UM – Im a geography teacher of middle school. when my students ask me about rock, I always show that Tobacco road vídeo. Man, that was a transcental force...

HB - Eric had brought “Tobacco Road” to our attention. It was written by John D. Loudermilk. A blues song first recorded in 1960 that was a hit for The Nashville Teens in 1964 and has since become a standard across several musical genres.It really started breaking out around 1964. Eric knew we had to do an Eric Burdon and War Version and We are So Glad We Did. “SHOW TIME!”.

UM – In 1970 you released Eric Burdon Declares War, a classic álbum! Could you talk about it?

HB - The very first show we ever did as “Eric Burdon and War” was June 6th & 7th, 1969 at “Mother Lizards” in San Bernardino California. The Band War consisted of Howard Scott, Lee Oskar, Charles W. Miller, Sylvester “Papa Dee” Allen, Lonnie Jordan, *Peter Rosen and Harold Ray Brown. *Peter Rosen was replaced by Morris BB Dickerson /Bass November 1969.

We went into the studio around March-April of 1970 in San Francisco, California. We were on a roll. We were trying various ideas of songs. One being the Tobacco Road, but here goes God at Work again. Some How some WINE had gotten Spilled all over the Studio Console in Studio “A” at Wally Heider Studio ... Ouch! So, this gave us an Idea of Our Very First Hit, “SPILL THE WINE” Take That Pearl … and So On. The Rest is History.

UM – In september of the same year, during a War concert in London at Ronnie Scott’s Club, Jimi Hendrix would play publicly for the last time. Did you meet him? How was that night? And how did receive the sad notice about his death?

HB - I was hanging with Jimi the evening September 16, 1970. Him and I were going down an Alley like area, which was loaded with shops and Indian food restaurants just around the corner from Ronnie Scott’s. Jimi was walking in front of me, leading the way. I ask,” Jimi where are you taking me?” I will always remember him looking back at me from over his left shoulder wearing his Black Velvet Hat and Black Velvet Jacket, Saying to Me, “Come on Brown I am Going to Show You How to Eat When You Come to Europe!” Jimi Hendrix turned me on to “Tandoori Chicken” … along Cumin Rice, Green Chutney…Yummy to the Tummy!

So, the next night came on around, which I believe was a Thursday September 17, 1970. It was to be our last night at Ronnie Scott’s Jazz Club before making our way back to the USA. We were in to our first set and I noticed that Jimi and a couple of other people when he had entered into the Ronnie Scott’s. Nothing unusual. He was given a nice seat & table. Me being a drummer in the middle of the band stand, I recall him seating off to the right of the stage having a great view and access to the small dance floor about a row or two from the rear. We finally got to our last song and “Eric Burdon” Invited “Jimi Hendrix” to come up on stage and Jam with us. it was “Tabaco Road” One of My, most re-lived moments of being on stage with “Jimi Hendrix” Was, when we were playing a 4/4 Shuffle 90-100 BPM and Jimi was standing over my Left Shoulder talking into my Left Ear in a whisper saying, “Yes Brown Right There, Right There”. I still can see his Right Hand Over to my Right by my Floor Tom. I still get Chills on my arms and once and awhile I even get Tears in my Eyes, because that was the last time, we would Jam Together. The following morning Friday September 18, 1970 I got a call from Eric Burdon telling me that Jimi had Transitioned Beyond the Blues!

UM – War was the first álbum without Eric Burdon. How was it?

HB - From the beginning our first Real Manager Steve Gold had explain to us that Eric Burdon and War where Two (2) Artist. Eric Burdon as a Powerful Icon. Then there was this Satellite or Sputnik “WAR” That could become its Entity and Create Its Own Music. Well, easier Said than Done. When we went into the studio we essentially went and recorded song we had been writing and playing together from the Creators/Night Shift Days. The Big Joke for us Is, “Our First Album Went Vinyl” Get It… LOL?

UM – The World is a Ghetto was a huge success. Do you consider War’s best work? Could you talk about the álbum?

HB - Yes, The World Is A Ghetto was our Biggest Hit, but don’t Skip over “Slipping Into Darkness”. That track has been sampled so many times. In fact, I spoke with Tupac Shakur’s Bass Player and he wanted me to Do the Drums on His Very Last album, “For True”.

The World is A Ghetto was our 5th Album. 1972-1973. I can remember like it was a few years ago when Sylvester “Papa Dee” Allen and myself were driving back and forth from Pomona California aka “P Town”, which is about 40 miles east of Hollywood California. He and I started realizing that Beverly Hills, Malibu, Hollywood, Compton, Long Beach, Chicago, Detroit, Dallas, New Orleans All Have Issues. That’s when Sylvester “Papa Dee” Allen came up with the inspiration for the “World Is A Ghetto” and Morris D. Dickerson Lead Vocal is Amazing, known as “BB”. “BB” is the Best Vocalist/Crooner that’s Ever been in the Band/Group known as “WAR”. “Big Money Big Problem, Little Money Little Problems, No Money Problems, Problems…". The Song is Still being Played and just as Meaningful, even if not more. It also has “The Cisco Kid”, of which Howard Scott was the main Inspiration of this song. One of the Key Factors about the Original Creators, Writers and Performers Is the Fact We are Not Just A Band, We Are A Brotherhood! We all made sure all of the Original Members Share in That “STEW” and that STEW still Provides for Us … Amen!

UM – It is amazing how Why can’t we be friends? remains current, it portrays the moment very well...

HB - It was years ago when we had toured to Japan. The Country, The Language and Customs to us was very new to Us. Yes, for me growing up in Long Beach I had/have the Blessing of Growing up and Living with a lot of Nationalities. In fact, for the last 20 years I mainly eat with Chop Sticks … For True! It was the early 1970’s and we knew we had a lot of Racial issues in our Home Country the United States of North America. We thought, What if You took two Folks from say the South one was a European American and the Other were African American and Dropped them off in a Country where they did not know the language or customs, but can speak the same language, eat the same foods how quick they would become the best of Friends … You Got It … “WHY CAN’T WE BE FRIENDS?” … You Is My Friend … YES?

UM – In 92 a group formed by rappers recorded a War tribute álbum, Rap Declares War. Did you like the Project? Do you see rap as the new funk or a natural Evolution of soul music?

HB - By this time 1980 the Original Band Members WAR (Charles W. Miller, Howard E. Scott, Lee Oskar, Sylvester “Papa Dee” Allen, Morris “BB” Dickerson, Lonnie Leroy Jordan and Harold Ray Brown) had dwindled down to only (5) Five of the Original Members. Morris “BB” Dickerson and Charles W. Miller were no longer touring or recording. So, we brought in some other professional/studio musicians to try and fill the Gap. This when Our Music Took a Left Turn! The new musicians were excellent, but they were more of the type that would record what was the Trend on the Radio; Not setting the Trend! So, we went into the studio to record and what we came up with was “Music Band One” & Music Band Two” 1979-1980. We got caught Up in the “DISCO ERA” at 120 BPM. Disco Music was more about Formula. The Hits We (Howard, Lee, Charles, BB, Papa Dee, Lonnie and myself Harold Brown) Created was from the Heart/Soul not from a Machine/Radio. Thank God, the music we created during our Prime Years Was Real, “We Are Real” To This Day. This Is What the Inner-City Rappers and Producers Could Hear and Feel …” You Feel Me”. Our Songs.

The Inner-City Artist Understood what we were Passing on to the Next Generation of Artist. Such as 2 Pac, Ice-T, Kid Frost, Hispanic M.C.’S, Too Short, Brand Nubian, Beastie Boys, Shaggy, Pitbull. Our Loose Grooves and Melodies Leave Room for Creating. Even though we wrote our Hit’s back in 1970’s 1980’s other artist is still sampling our Grooves and Melodies. A, BIG THANK YOU, FOR Keeping Our Music Alive to this Day!

UM – Could you talk about Lowrider Band?

HB - Back on June 14, 1999 the 9th District Federal Courts Place a Permanent Injunction on the Original War Band Members that we could not use the name War to Promote or Sell Tickets to Our Concerts. We can’t say Former Members, nor Founding Members of the Band called WAR except in a Bona-fide Resume or Biography. We can say “The Original Composers Of: Low Rider, Why Can’t We Be Friends, The World Is A Ghetto, Spill the Wine, Cisco Kid and Many More”. So, I remembered Steve Gold, our Manager told me when you come up with a name it needs to be Simple, not a lot of Words and something your Fans could remember. That’s when I said to myself, when most People ask what’s the name of our group I would say “WAR” and their immediate response would be “WAR what is it Good For? Absolutely Nothing” No that’s Edwin Starr, which was a major hit back in 1969-1970. So people would confuse with that song “WAR”. So, I would say, “You Know; Low Rider, Why Can’t We Be Friends, The World Is A Ghetto, Spill the Wine, Cisco Kid”. Oh, That “WAR” That Band. That’s I/we decided to go with on or our Biggest Hit’s “LOW RIDER” The Original Lowrider Band. Featuring Howard Scott, Lee Oskar, Morris BB Dickerson and Harold Brown. Now you know Who We Is! All Our Friends Know the LowRider Band. We still do some dates, but we are very selective about touring and traveling. We like to do Special Events and some Major Events for the Right Causes. Folks wonder Who’s that on Stage and after a couple Bars of Music … They Know Our Name “We Are Real!”

UM – In 2008 the War ex-member Lonnie Jordan and Eric Burdon did a War reunion concert. Did you get disappointed? Would you like a trully War reunion concert with Eric Burdon?

HB - I spoke with Eric Burdon three times the first week of June 2020. Eric is like a Big Brother Me/Us. He gave us our first big break and nothing can ever change the Love I have for Him. When Eric and the So-Called WAR Band did that reunion, Eric Burdon was very disappointed he thought it was going to be with all the surviving Original Members. So, when he got there and found out that it was only Lonnie Leroy Jordan, He did the one show and did the tour with-out that WAR the Band.

One thing about me, Harold Ray Brown, I Love Lonnie Leroy Jordan. I have nothing against musicians that are touring as war the band. Lonnie is only doing what he knows best and that’s to be an entertainer. I ask Lonnie Jordan’s Mother to get him his very first keyboard back 1962-64. Also, Lonnie most likely have signed some agreements that’s got him Lock Up on the Plantation. I came up with great idea last week. What we should do is a “Eric Burdon Declare War for Peace Tour” and War & Lowrider Band “Why Can’t We Be Friends Tour”. I am Just Saying… Dang, I thought this would be a short Interview!

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