Pat Flynn | Interview | A Legacy in Strings and Songs
Pat Flynn is a prominent figure in the music world, known for his contributions to New Grass Revival and his versatile skills as a guitarist, singer, songwriter, and producer. His recent CD releases showcase his multifaceted talents.
During his tenure with New Grass Revival, Flynn, alongside Sam Bush, John Cowan, and Béla Fleck, left a lasting impact on the music scene. Capitol-EMI Records’ retrospective ‘Grass Roots’ highlights the group’s enduring influence.
Flynn’s exceptional guitar prowess earned him the title of “Best Acoustic Guitarist” in Frets magazine for five consecutive years. With over 400 CD projects to his name, including collaborations with Grammy-winning artists, Flynn’s session work is highly regarded.
In recent years, Flynn has been involved in notable musical endeavors, including touring with The Greencards and serving as musical director for Tom T Hall. His solo projects, such as ‘reQuest’ and ‘reVision,’ have garnered critical acclaim.
Would you like to share about your upbringing? Where did you all grow up? Tell us about your daily life back in your teenage years.
Pat Flynn: I grew up in Southern California during the ’60s and ’70s. Although I didn’t consider it a particularly special time and place back then, looking back, I recall some remarkable moments. Our high school boasted Kurt Russell as our star pitcher, Belinda Carlyle as our local cheerleader, Michael Richards as our top actor, and Casey Kasem as the local radio DJ who would come out to host our weekly Community Center Dances.
Growing up where I did, I had the opportunity to see The Beatles perform live at Dodger Stadium, Buddy Rich and the International Submarine Band at the Whiskey á Go-Go, and Buck Owens with The Buckaroos at a Fair. I also saw Linda Ronstadt, Steve Martin, Poco, and Jackson Browne, all just starting out, at The Troubadour. Oh, and after school, we’d ride out to the outskirts of Thousand Oaks to watch them film Dick Clark’s afternoon show ‘Where The Action Is’. Among the many stars I watched, Barry McGuire generously took the time to chat with me.
Was there a certain scene you were part of, maybe you had some favourite hangout places? Did you attend a lot of gigs back then?
I never engaged in the typical hanging-out scenario of revving up cars, drinking beer, and starting fights. Instead, I was always in a band, dedicated to working on music. Our bands were consistently regarded as the best in town. I spent my time practicing guitar, writing songs, and studying album covers. That’s how I became familiar with the Wrecking Crew session musicians.
When did you begin playing music? What was your first instrument? Who were your major influences?
My brother John (Huck) Flynn and I received our first guitars for Christmas, ordered from the Sears Catalogue—F-Hole Harmony Acoustics. My biggest inspiration came from the vibrant Surf Music scene in Redondo Beach. Local bands like The Beach Boys, The Bel-Airs, and Eddie and The Showmen (with their iconic Fender Showman Amps) shaped our musical aspirations. One of the top groups, The Challengers, even worked at the local music store, Catalina Music, and we seized every chance to be around them.
Then came the significant Folk Music scene, where we delved into the repertoire of artists like the Kingston Trio, Peter, Paul, and Mary, among others. While I admired Elvis and learned his songs, he seemed like a relic of the past. However, when The Beatles burst into the scene, everything else paled in comparison.
Later, when Bob Dylan emerged, I, like many others, saw him as a Messiah, a Revelator, almost like a religious experience. It was at that moment that I knew, without a doubt, that my life’s purpose and destiny were to play music, write songs, and be part of a significant band.
Can you elaborate on the formation of Yellow Hand? What about Fresh Air?
The pivotal aspect of Yellow Hand is the fortuitous connection to Buffalo Springfield. The track I feel most connected to is ‘Sell Out’ because I sing lead, and the guitar solos represent the early (rough) stages of my guitar style.
Regarding Fresh Air, our contribution lies in our association with the iconic Laurel Canyon music era. Wayne Parker, a local music producer, recognized something in my bands, California Grassfield and Fresh Air, and brought us to Hollywood, providing us with our initial recording opportunity. He is fondly remembered and dearly missed, a truly kind and supportive individual.
Tell us about your solo albums?
My solo albums resulted from the breakup of New Grass Revival. I had amassed so much material intended for the band that I felt compelled to release it, even if I had to do it independently. I wasn’t eager to form another band because New Grass Revival was the pinnacle for me, and I had no interest in replicating it.
All my solo CDs were recorded in home studios with friends who were skilled engineers. I personally arranged and produced all my records.
What would be the craziest gig you ever did?
The craziest gig ever was the last New Grass Revival show, which happened to be opening for The Grateful Dead at the Oakland Coliseum on New Year’s Eve 1989. It marked the end of the year, the end of the decade, and the end of the band. On the right side of the stage sat Bonnie Raitt, and on the left side sat Jane Fonda.
What else would you like to share with our readers?
I moved to Aspen, Colorado, in the late 1970s to hone my skills and discover my own musical identity. It was a wonderful small town where notable figures like John Denver, the Eagles, and Jimmy Buffett lived and socialized.
In 1979, I was invited to perform at the nearby Telluride Music Festival, where I crossed paths with New Grass Revival. Building friendships with them, I joined them as their opening act for shows around Colorado. When their guitarist and banjo player departed in 1980, I was invited to join, along with a young East Coast banjoist named Béla Fleck.
We relocated to Nashville, Tennessee, as a group and generated considerable excitement in the local music scene, eventually securing a record contract with Capitol Records. (We were even introduced once on stage as “Capitalist Recording Artists!”) Over our decade-long tenure, we toured the world, pioneered Modern or Progressive Bluegrass, and were recently inducted into the Hall of Fame by Garth Brooks, on the stage of the legendary Ryman Auditorium.
Some special collaborations/events that I’m particularly proud of include:
Being voted Best Guitarist for five consecutive years in Frets Magazine’s National Readers Poll.
Collaborating with Garth Brooks on the recording of my song ‘Do What You Gotta Do.’
Playing lead guitar on Glen Campbell’s last #1 record: ‘Gone Gone Gone.’
Playing lead guitar on Jerry Reed’s final recorded vocal before he passed away: ‘The Likes Of Me,’ featured on Buddy Green’s CD ‘Happy Man.’
Playing lead guitar on Michael Martin Murphey’s duet with Marty Robbins (posthumously): ‘Big Iron On His Hip,’ paying homage to the great Grady Martin with my guitar part.
Being chosen as the Musical Director of Tom T Hall’s Artist-In-Residence at the Country Music Hall of Fame Theater, a celebration of Tom T’s life and career, featuring many esteemed guests. As a lifelong Tom T Hall fan, I was deeply honored.
Collaborating with many of my musical heroes on my solo albums: ‘reQuest,’ ‘reVision,’ and ‘reNew.’
I’m also preparing to release a ‘best of’ CD titled ‘reView’ and am honored to have been inducted into the Bluegrass Hall of Fame.
Klemen Breznikar
Headline photo: Wendell McGuirk
Pat Flynn Official Website / Facebook
