Podcast Summary: Tony Mantor’s Almost Live… Nashville
Episode: The Musical Journey of Mike Batt
Date: June 25, 2025
Guest: Mike Batt
Host: Tony Mantor

Episode Overview

In this insightful episode, Tony Mantor sits down with British music legend Mike Batt—a renowned songwriter, producer, composer, and arranger whose portfolio spans iconic hits like the Wombles’ theme songs and Art Garfunkel’s “Bright Eyes.” The conversation traverses Mike’s eclectic musical journey, his collaborative projects with Justin Hayward of the Moody Blues, the joys and logistics of working with orchestras, and the realities of sustaining a music career across decades. The episode also touches on Mike's adventurous personal life, including sailing around the world with his family and the release of his memoir. This is a must-listen for musicians, producers, and fans of music history.

Key Discussion Points & Insights

Collaboration with Justin Hayward & Recent Projects

[02:45 – 04:40]

• Reuniting creatively: Mike Batt and Justin Hayward (Moody Blues) have rekindled their musical collaboration, reprising their successful 1989 project, Classic Blue, with new orchestral recordings.
• The Process: The duo recorded three new arrangements at Henry Wood Hall with the London Philharmonic Orchestra, following a similar rhythm-free, vocal-and-orchestra format.
• Quotable:
  • “The idea was no rhythm section, just a symphony orchestra and Justin's voice with me, kind of backup vocals… We did cover versions.” (Mike Batt, 02:54)
  • “Justin said: ‘Hey, look, you know, you're singing on this as much as I am. Why don't we just put it out as a duo, almost?’” (Mike Batt, 04:31)
• On creative trust:
  • “It was great. We just trust each other.” (Mike Batt, 04:53)
• Historic Context: The pair first worked together live in 1987 for The Hunting of the Snark, a Lewis Carroll-inspired concept album.

Orchestral Recording Process & Artistic Dynamics

[06:04 – 11:57]

• Orchestral challenges: Unlike rhythm-driven bands, orchestral projects require significant pre-planning, as much of the final sound is set during the recording session.
• Notable moment:
  • “You have to have a pretty good idea of what it's going to sound like. I mean, that's my job as the conductor and arranger... you only have three hours to record three songs.” (Mike Batt, 08:41)
• Studio techniques: Discussion on ideal studio setups (like Air Studios, London) to maximize instrument separation or desired bleed for texture.
  • “What you do want, funnily enough, is bleed from the brass and woodwinds onto your strings... To give you a nice fat sound.” (Mike Batt, 11:45; 11:54)

Mike Batt’s Musical Origin Story

[12:09 – 16:27]

• Enter the Wombles: Mike’s break came in his early 20s writing the theme for the Wombles TV show, leveraging a bold business decision to retain character rights over a flat fee.
  • “I had tears in my jeans before it was fashionable... But I turned down the £200. I said, look, I'd much rather have the rights—the character rights to make a band or just record.” (Mike Batt, 12:58)
• Typecasting & Evolution:
  • “My biggest problem was then to get people to take me seriously... A lot of people don't realize that you can be quite a serious musician but still have a sense of humor.” (Mike Batt, 13:49)
  • “Then I wanted to be something other than a bubblegum kind of artist... I was able, as a non-Womble, to break through in countries like Germany, Austria, Switzerland, Australia, and South Africa.” (Mike Batt, 14:36)

Orchestration, Concept Albums, and Musical Palettes

[15:27 – 18:27]

• Using orchestras: Mike always gravitated towards orchestral arrangements, both with the Wombles and in his solo projects (e.g., Schizophrenia, Tarot Suite).
• Influences: Early love for classical music shaped his eclectic style, melding pop/rock with symphonic elements.
  • “It's like an artist color palette. There are all those colors, as you just described it. You have all those different ways you can do something.” (Mike Batt, 17:11)
• Collaborative trust: Success largely hinges on creative trust and openness, both as producer and artist.

Looking Ahead: Projects, Platforms, and AI

[18:41 – 23:29]

• Future collaborations: More projects with Justin Hayward may depend on label support due to the cost of orchestral recordings.
  • “We probably would... need a record company to come along and say, look, we'll finance it... it's a big undertaking.” (Mike Batt, 18:52)
• Adapting to Modern Music Distribution:
  • “The difference between today and in the past with the labels is you don't need them as much because you get so many different platforms you can sell it off from... It's a completely different world socially.” (Tony Mantor, 21:29)
• On AI and the music business: Mixed feelings about AI involvement in songwriting and performance.
  • “I asked AI to write... a song lyric in the style of Mike Batt... they came back with utter piffle... it was kind of a bit like me, but it wasn't me.” (Mike Batt, 22:49)
  • “When you take the creativity out of it, you've lost the heart and the soul of the music.” (Tony Mantor, 23:22)

Mike Batt’s Memoir and Personal Journey

[23:29 – 26:16]

• New book: Mike’s memoir The Closest Thing to Crazy chronicles his music career and global sailing adventure with his family.
  • “It's a kind of... whole life story... about how I took my family around the world in a yacht... and my music adventures and so on, people I've worked with and Paul McCartney coming to dinner.” (Mike Batt, 24:15)
• Where to buy: Available on his website mikebatt.com, with signed hard copies and soon, a paperback version.
• Listener takeaway: Mike emphasizes the continuing evolution of music careers and encourages artists to embrace various platforms and maintain direct fan relationships.

Notable Quotes & Memorable Moments

• On choosing artistic rights over immediate payment:
  “I turned down the £200. I said, look, I'd much rather have the... character rights... I worked very hard to make it a hit and that’s why my first hit was wearing a very strange furry costume made by my mother and been known as Mr. Womble ever since.” (12:58 – 13:13)
• On orchestral sessions’ magic:
  “You have to have a pretty good idea of what it's going to sound like... And also, you only have three hours to record three songs.” (08:41)
• On handling musical identity:
  “A lot of people don't realize that you can be quite a serious musician but still have a sense of humor.” (13:49)
• On the heart of music vs. AI:
  “When you take the creativity out of it, you've lost the heart and the soul of the music.” (23:22)

Timestamps for Key Segments

• Introduction & guest overview: [00:48 – 02:14]
• Discussing new project with Justin Hayward: [02:45 – 04:40]
• First collaboration history (“The Hunting of the Snark”): [04:53 – 06:04]
• Recording orchestral albums and processes: [06:04 – 11:57]
• Early career & rise via the Wombles: [12:09 – 13:33]
• International success, moving beyond “bubblegum” image: [14:36 – 15:19]
• Philosophy on orchestration and music palette: [15:27 – 18:27]
• Current and future symphonic projects (“Diary of a Symphony”): [19:39 – 20:43]
• Challenges in today’s music industry: [18:52 – 22:23]
• AI in music & creative authenticity: [22:23 – 23:29]
• Memoir, website, and personal adventures: [23:29 – 26:16]

Final Impressions

Tony Mantor’s conversation with Mike Batt delivers both industry wisdom and delightful storytelling. From the technicalities of orchestral recording to tales of musical reinvention, listeners gain a rich understanding of what it takes to sustain a creative career in ever-changing times. Whether you’re a music professional or fan, the episode is packed with illuminating anecdotes, sage advice, and the unique personality that has made Mike Batt a legend in his field.

For more about Mike Batt and to order his memoir, visit: mikebatt.com