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Introduction by Jim Liddane
Dennis Locorriere, born on June 13, 1949, in Union City, New Jersey, is probably still best known as the lead vocalist and guitarist for the band Dr. Hook & the Medicine Show, a group that rose to fame in the 1970s with their blend of rock, pop, and country music, tinged with humour and emotional depth. Locorriere’s distinctive voice and engaging stage presence became defining features of the band’s appeal, earning him a dedicated fan base around the world.
Locorriere’s early years in New Jersey were marked by a love for music, which he cultivated by learning guitar and singing. By the late 1960s, he had become involved in the local music scene, performing with various groups. He met Ray Sawyer, another key figure in Dr. Hook, and the two bonded over their shared musical interests. Along with George Cummings, they formed Dr. Hook & the Medicine Show in Union City. The band initially struggled to find success, performing in local venues and hoping for a break. Their big break came when Shel Silverstein, the famous poet and songwriter, discovered them and recognized their potential.
Silverstein’s involvement proved pivotal. He wrote several songs for Dr. Hook, including their breakout hit, “Sylvia’s Mother,” which became a major hit in the United States and internationally. The song’s success catapulted the band into the limelight, and Locorriere’s emotive, soulful voice became synonymous with Dr. Hook’s sound. Following the success of “Sylvia’s Mother,” Dr. Hook & the Medicine Show continued to work with Silverstein, releasing hits such as “The Cover of ‘Rolling Stone’,” which humorously lamented their quest for fame. This playful song resonated with audiences and even led to the band appearing on the cover of Rolling Stone magazine, cementing their status in popular culture.
In the mid-1970s, the band shortened its name to Dr. Hook and began to move away from Silverstein’s satirical songwriting, focusing instead on romantic ballads and pop songs. This shift in style led to a series of hits, including “A Little Bit More,” “Sharing the Night Together,” and “When You’re in Love with a Beautiful Woman.” Locorriere’s rich vocals, which could seamlessly shift from playful to heartfelt, were central to these songs’ success. Dr. Hook became known for their versatility and Locorriere’s ability to convey both humor and sentiment. The band achieved widespread popularity, touring extensively and reaching a global audience.
As the 1980s approached, Dr. Hook’s popularity began to wane, and the group faced internal tensions. Locorriere, who had been a constant presence in the band’s evolving line-up, continued to lead Dr. Hook until its dissolution in 1985. After Dr. Hook disbanded, Locorriere took a break from the music industry, although he continued to write songs and collaborate with other musicians. He also contributed backing vocals to various projects, including work with Bob Dylan, and developed a reputation as a skilled session musician.
In the 1990s, Locorriere returned to the music scene as a solo artist, embarking on a new phase of his career. His solo work revealed a more introspective side, blending folk, country, and rock influences with reflective lyrics and stripped-down arrangements. His solo albums, including “Out of the Dark” and “Post Cool”, showcased his versatility as a songwriter and demonstrated his enduring connection to his craft. Locorriere began touring internationally as a solo artist, reconnecting with longtime fans of Dr. Hook and reaching new audiences with his solo material. His live performances often included renditions of Dr. Hook classics alongside his original songs, highlighting his musical journey and enduring appeal.
In addition to his solo career, Locorriere also delved into acting, appearing in theatre productions and lending his voice to various projects. He performed in stage adaptations of “The Canterville Ghost” and “Scrooge: The Musica”l, further showcasing his range as a performer. His versatility allowed him to explore different creative avenues while maintaining his connection to music. Locorriere continued to tour well into the 2000s and 2010s, often billing his performances as "Dennis Locorriere Celebrates Dr. Hook" to honour his roots with the band while establishing his solo identity.
Throughout his career, Locorriere’s impact on music has been marked by his ability to balance humour and sincerity, both in his lyrics and his performances. His voice, once described as "a cocktail of grit and honey," has been instrumental in defining the emotional range of his music. His longevity in the music industry speaks to his adaptability and the timeless appeal of his work. Today, Locorriere remains a beloved figure in classic rock and pop music, with a legacy that continues to inspire both fans and fellow musicians. His contributions to Dr. Hook’s unique sound and his solo career highlight his dedication to his art and his lasting influence in the world of music.
Debbie Rial interviewed Dennis for the International Songwriters Association’s publication “Songwriter Magazine”.
Prologue
As front man with Dr Hook, Dennis Locorriere enjoyed huge international success with over 60 gold and platinum albums, sell out tours and no 1 hits in over 42 countries with the likes of “Sylvia‘s Mother” and “When You‘re In Love With A Beautiful Woman“. Famous for their long gruelling tours, performing up to 300 shows a year, Dr Hook was undoubtedly one of America’s most successful acts of the 1970’s and early 80’s.
Dennis has gone on to have highly acclaimed solo success and continues to wow audiences with his spine-tingling, sexy vocals. A notable songwriter, he has had songs recorded by Bob Dylan, Southside Johnny and Willie Nelson, to name but three. Still “hooked” on performing, Dennis had just come off a tour but found time to answer a few questions for "Songwriter Magazine".
At what age did you first realise that music was important to you?
I can't remember a time in my life when music wasn't there in a big way. My mother was very young, 19 years old when I was born and she liked her music. Mostly great singers like Dinah Washington, Nat King Cole, Chet Baker, Sarah Vaughn and later, Sam Cooke.
It probably helped that I grew up across the river from New York City, home of some of the coolest, most powerful radio stations in the country, playing all the hippest records. My little transistor radio was always glued to my ear.
Even in bed, I'd have it on really low, under my pillow, so only I could hear it. I always figured I'd be a music 'fan' for life. It wasn't until I was 14 years old and The Beatles came to America that I started banging and plonking on things, trying to make a similar noise. It felt good to me. Natural. Right.
I never really thought about music as a career. It just sort of happened. Probably a good thing. I didn't have anything else in mind at that point...or at this one either.
Who were your early influences?
My mom and her records were what peaked my interest. All her favourite singers had such unique voices. Unmistakable from the first word. Sam Cooke was a major influence on so many vocalists, including me. But, The Beatles will always stand as my single biggest motivator because they were the ones that made me wanna do it and not just listen to it.
How old were you when you wrote your first song?
It was sometime shortly after the British Invasion started, so 14-15. I can't remember exactly what it sounded like, or what it was about, but I do recall the deflating moment that I realised it was pretty much Tommy Roe's “Sheila“, almost note for note. But, hey! I'll bet a lot of the great artists began with a touch of plagiarism. You have to start somewhere. The trick is to move into your own thing.
Do you write all the time, do you set time apart for writing, what’s your process?
I have absolutely no process, technique or method that I could tell you about. I write when an idea hits me. The best ones are the ones that hit me hard enough to sit down right then, pick up my guitar and try and find my way into it a little. Of course, that's not always possible, so I do carry a notebook and a pen (usually!), but that's about it.
I'm not methodical. I probably forget more ideas than I'll ever follow thru on. I tried co-writing in the past and some nice songs have come of it. But, I've also had a few of what I thought were good ideas taken in the wrong direction by someone else and I, in the spirit of collaboration, just let it happen. I don't do that anymore. I mostly write alone these days.
It’s a great accolade to have had songs recorded by two of the greatest songwriters in the world, Willie Nelson and Bob Dylan. How did they come to record one of your songs?
Both of those artists recorded the same song, 'A Couple More Years'. That song is down in the books as a co-write between me and my late, great friend, Shel Silverstein, and, I supposed, technically, that's true. The real story is that when I was in the studio, recording the vocal on Hook's version of the song, it was sounding strangely familiar to me. One of my bandmates pointed out to me that the melody was very reminiscent of a song I had written called 'Moon Tune'. I don't think Shel was too happy to hear that and who could blame him? And, let's face it, it is a pretty standard country melody that we'd both used in our respective songs, but Shel did what he thought was the right thing and made me co-writer on his song. It's been wonderful for me to be associated with the song and, yes, it's been recorded a zillion times. The latest cut was Jerry Lee Lewis and Willie Nelson on Jerry Lee's comeback album, “Last Man Standing“. So, Willie recorded the song twice. Wonder if he even knows that?
Which of your many hits are you most proud of?
It was never about 'the hits', to tell you the truth. There are some far better songs on the albums. Don't get me wrong, without the radio records Hook might not have had the opportunity to show so many people, all over the world what a great 'live' act we were. And, that's what it was always about for us. The shows. The 'hits' were just like far-reaching explosions that drew the crowds in. Luckily, we had a bunch of them. But, to sort of answer your question, I'm kinda partial to the Shel penned ones, like “Sylvia's Mother”, “Lucy Jordan”, “More Like The Movies”. Very cinematic. Great for a singer to chew on.
You’ve always spent so much time on the road, including almost year long tours during your time with Dr Hook. What is it about live gigs that appeals to you?
The worst part of this business to me is having to solicit the opinions of other professional people and then wait for their responses. Sometimes you can wait forever. You write a song, you wonder if it's any good. You record it, present to the label and wait for their opinion...and the song-plugger's opinion...and radio's opinion. And, these opinions are usually based on a whole lot more than whether they liked your song or not. You walk out on a stage and play that song for the people and, immediately, you know what you have...or not. It's right there, right then. 'Live' performance is really the only thing that makes me feel like I'm still viable in this business.
Was a busy touring schedule behind the long gap between the release of your first solo album “Out of the Dark” in 2000 and its follow up “One of the Lucky Ones” in 2005?
The long gap - four years or more - between albums had more to do with trying to define myself between albums than anything else. “Out Of The Dark” was recorded bit by bit, song by song, just to be doing something with all the songs I was writing. They weren't intended for an album. I hadn't looked for a label before that. Most of the tracks on OOTD were released a couple years prior as “Running With Scissors“, on a small Norwegian dance label. It soon folded and so did the album. When the opportunity arose to rework it a bit and get it out as a proper release I jumped at it and “Out Of The Dark” saw daylight. “One Of The Lucky Ones” was actually recorded and scheduled to be released on a UK label that got weird and dodgy just as I was finishing it. They, without any warning to me, went bust and left me with a bunch of studio bills that I couldn't pay, including several musicians who were friends of mine. Needless to say I felt like a fucking deadbeat!
The album remained in the studio vaults for quite awhile until I could work and raise the money to pay them all, players and studio, what I owed them. But, even tho I had possession of the master tapes again, they still sat in the drawer next to my bed for a year or so until we could find a home for it. Turned out we went back to Track Records, who had put out OOTD.
Your musical career has successfully spanned the decades and you’ve worked or guested with many stars including your recent stint with Bill Wyman and The Rhythm Kings. Is there anyone you would like to guest on one of your tours?
Now, there's a question I've never been asked and something I've never really thought about. Not who I'd like to guest with but who I'd like to have guest with me. Well, off the top of my head, Billy Preston would have upped the soul factor of anybody's band. He played an organ solo on “Isn't It A Pity” at the “Concert for George” (Harrison) that makes my eyes well up every time I hear it. The two fellas with Was (Not Was), 'Sweet Pea' Atkinson and Sir Harry Bowens, would be a kick to sing with. I'll stop there or be forced to go through my entire record collection for more ideas. But, you have me thinking about it now.
Anyone who appreciates song writing can’t help but be a Beatles fan. In your list of ten all time fave songs there are three Beatles songs. What is it about their song writing that makes them so special to you?
The only reason there aren't ten Beatle songs on the list is because I didn't wanna seem too monotone about it all. But, then, again, you could pick ten of their songs and hit on as many different styles of music, couldn't you? The Beatles had and did it all and changed the landscape forever. The way artists think, sing, write, dress, look, sound, and on and on. I'm so glad I was 14 when they arrived. It was the perfect age to take it all in. To really 'get it'.
What song do you wish you’d written?
Any and every Paul Simon song. The man is an artistic treasure.
Do you follow the current music scene and if so who do you rate?
I listen to lots of different types of music. Today's manufactured pop music doesn't speak to me at all. It all sounds the same on purpose. It's a shame, really. I still love a great voice, but I'm talking more about the way that voice communicates with you rather than trying to dazzle you with technique and range and a million notes per syllable. An expressive singer doesn't have to hit lots of notes or land every one right on the money on to make you pay attention. Take Jagger, Lennon, Costello. These are not pitch perfect singers (though Elvis might disagree), but they are three of the most distinctive, emotive voices there have ever been. I love to listen to new bands with great songs and nice harmonies too. I rate anyone that sounds like they know how they want to sound.
What’s your connection with McFly?
My only connection with McFly is that I have known Tom Fletcher and his lovely family since he was about five. They came to a solo show of mine and young Tom asked if he could come up and sing something with me. Did I say he was only five??? We did “Cover Of Rolling Stone” together and he was sensational. Knew every word and every note of melody. It sounds very storefront Nostradamus now to say this but I just knew the lad was gonna amount to something. He just had it.
I love the success he and the band are having. He deserves it and his family are some of the nicest people I've ever met. McFly is only the beginning for young Tom. Watch out for Carrie Fletcher next. Tom's little sister. Another extremely talented young person.
Any tips for aspiring songwriters?
It's so hard for me to give anybody advice because, as I said, I really don't have a process or particular technique. I'm the most unorganised, undisciplined person when it comes to writing. As I said, I write alone these days. I'm not saying I'm not open to collaboration with the right person. I just spend a lot of time alone. I live alone. Usually tour alone. I find myself with my guitar on my knee more often when no one else is around. The only 'tip' I can give anyone about anything is: Don't do things that keep you awake at night. If you find yourself lying on your back one too many nights, looking at the ceiling, wondering if you're doing the right thing, you probably aren't. Hopefully it's not too late to say 'No thanks!' and move on. As far as content, sometimes you write 'what is', sometimes it's about 'what you wish was' and other times you just make it up. As I get older I find I have to make it up less and less.
And finally, what are you up to at the moment?
I'm going through the opening stages of preparing to record my next album. The first step was to play songs for my co-producer. I had specific things I wanted to show him, but, after awhile, I started playing songs that I'd never shown anyone. Songs that were written over the last 25 years of my life. It turned out that he really liked a lot of the ones I hadn't intended to play and it took my head and the album in a totally different direction. The next step will be to decide on a cohesive sound for it all. Then, to find the musicians we think can help us get that sound, and rehearse with them for a few days. After that, it's studio time!
If I know me, I will want to do a bit of 'live' playing before too long. Maybe a few smaller venues, here and there. I'm not a big fan of doing clubs as part of a tour, but they're useful to break in new material and, generally, keep my hand in, between tours. I don't like to leave it too long without some 'live' activity. The nice thing these days is that I'm never quite sure what will come up. A good example would be the shows with Bill Wyman's band. An unscheduled detour that I really enjoyed. Sometimes the blank page is more exciting than the full one. As long as it doesn't stay blank for too long!
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