George "Shadow" Morton took a break from recording to sit for his first interview in sixteen years. Famous for his magnum opus productions during the mid-'60s and early '70s, he found time to discuss his career and his return to the studio.

Born on September 3, 1944 in Richmond, Virginia or Brooklyn, New York (he's not sure), raised in Brooklyn and Hicksville, New York, it is evident that George Morton has traveled an arduous path. With his long blond hair and weathered blue eyes resident under a careworn beige cowboy hat; his appearance is reminiscent of Willie Nelson, grizzled and frayed. He is a lanky Brooklyn cowboy. His manner is soft yet emphatic, he chooses his words with obvious regard and candid precision . One can not help but be impressed by his heartfelt sincerity. His smile is easy, his eyes twinkle and his frequent laugh is generous. Immediately, one senses that this sensitive man has been there and back several times.

Morton's fame dates from the mid-sixties when he produced and wrote the great hits of the Shangri-Las , most notably "Leader Of The Pack" and "Remember (Walking In The Sand)." As a producer, he is known for Janis Ian's remarkable debut, "Society's Child", and for the psychedelic hits of the Vanilla Fudge . Unbeknownst to most rock fans, Shadow was involved in some of classic recordings, too. As an "advisor" (which often occurs when a producer is in over his head), Shadow's touch includes Jimi Hendrix' "Are You Experienced," The Blues Project's "Projections," The Rascals' "The Young Rascals," Laura Nyro's "Eli and The Thirteenth Confession" and The Iron Butterfly's "In-A-Gadda-Da-Vida" (and these titles barely scratch the surface!) Many of Morton's productions were recorded in Long Island's famed Ultrasonic Studios; he is often cited for his involvement in The Long Island Sound.

After attaining success in the music business, Morton plummeted to the depths of alcoholism. In 1976, he suddenly disappeared from the public ear. His name became a footnote, no more than a Trivial Pursuit question. By 1985, George Morton had bottomed out. Today, George is a reclaimed individual, a survivor and a living illustration of hope. For the past several years, he has been dry, clean and straight thanks to a stay at The Betty Ford Clinic and his own rediscovered strength and vision.

This interview is a composite of several discussions held during work on his comeback album. Produced by Morton and engineered by Tony Vianmontes at M & I Studios in New York City, the new music is both exciting and revelatory. Among the completed tracks, "Fighting Again" is a profound personal statement about life and redemption set against a heavy dance boogie. There is a controlled chaos to this piece and it seems to reflect the tumult of metropolitan streets. The masterfully interwoven vocals are performed by a large cast including former members of the Vanilla Fudge. "Eagle" is a far different track. More like a Moody Blues environment, this song presents more of a cosmic and philosophical facet to the artist. It's symphonic sweep and howling wind is nearly cinematic in scope. It could be the soundtrack to a Carlos Casteneda film. However, the most surprising cut thus far recorded is the love song, "Where My Eyes Have Been." In his singing debut, Morton is no "Velvet Fog" but his honesty and soul rise above his vocal inadequacies with the result--an audience with goose bumps and chicken skin. This song cries out for cover versions. Each night, as the sessions ended, an exhausted George "Shadow" Morton refused rides home preferring to dip his cowboy hat into the darkness and walk.