Blondie Chaplin has found himself in a whirlwind of activity once again, many years after he gained recognition in the United States through his extensive collaborations with iconic bands like the Rolling Stones and the Beach Boys. His remarkable journey in the music industry is experiencing a resurgence, showcasing his enduring talent and passion.

Currently, Chaplin is the featured vocalist on a new album by the Tasty Kings, a group based in New York City, comprised of musicians with connections to legendary acts such as the Stones, Bob Dylan, and the Faces. Additionally, he is set to headline a charity tribute concert honoring the Beach Boys in Los Angeles on July 3, 2025, at the Canyon in Agoura, further cementing his place in the music scene.

Having started as a child star in his native South Africa, Chaplin first gained local fame with his band, the Flames, before collaborating on three pivotal Beach Boys recordings in the early 1970s: Carl and the Passions – So Tough, Holland, and The Beach Boys in Concert. Reflecting on his experience, Chaplin remarked, “Obviously, you know, it’s the Beach Boys and they have their baggage and fame and everything like that,” he shared with UCR. “But you know, I’ve been singing since I was 12 in South Africa, right?”

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From 2013 until 2022, he participated in Brian Wilson‘s solo tours alongside other Beach Boys alumni, contributing to memorable studio projects such as the 2015 album No Pier Pressure. In addition, Chaplin spent 15 years touring and recording with the Rolling Stones, contributing to notable albums including 1997’s Bridges to Babylon and 2005’s A Bigger Bang, as well as Keith Richards’ 2015 solo project Crosseyed Heart.

The upcoming tribute concert in Los Angeles will celebrate the contributions of Stephen Kalinich, who co-wrote several Beach Boys tracks on the albums Friends (1968) and 20/20 (1969), by presenting him with a Lifetime Achievement Award. The concert will also feature performances from Carnie and Wendy Wilson, daughters of Brian Wilson, along with Wilson’s granddaughter, Lola Bonfiglio, a contestant from American Idol. Proceeds from the event will benefit the Get Together Foundation, an organization dedicated to aiding the homeless and victims of fire and other crises.

The album by Tasty Kings, led by singer-songwriter Andrew Morse, was recorded over many years and features contributions from Chaplin’s long-time touring partner, Darryl Jones, on bass. Native Tongue also includes renowned musicians like Charley Drayton, drummer for Keith Richards, and Charlie Sexton and Tony Garnier, both known for their work with Bob Dylan. Two tracks on the album were finalized with contributions from the late Ian McLagan, keyboardist for the Small Faces and Faces.

Chaplin’s powerful and evocative vocals provide a narrative thread throughout the album, with the track “Maybe I’m a Queen” standing out as a highlight. “Hearing Blondie sing it really opened it up, gave it more depth,” Morse expressed in an official statement. “For someone who played midnight gigs at the age of 12 in South Africa, you’d think Blondie could be jaded. But his eyes are clear, his voice is raw, and he conducts this song in a sacred tone.”

In an engaging interview, Chaplin shares his insights on the contrasting dynamics of working with the Rolling Stones and the Beach Boys, reflects on the long-awaited critical reassessment of Holland, and discusses how he got involved with Andrew Morse and the Tasty Kings’ Native Tongue:

It’s a joy to hear your voice again on the album Native Tongue, which took nearly a decade to complete. What drew you to Andrew Morse‘s songwriting?

I was initially brought in just to lend my voice to a few of the songs, to make them resonate more effectively. Andrew Morse had some compelling lyrics, but I felt he needed someone to bring the words to life. I was delighted to participate and infuse my own interpretation into the music. I started with just a few tracks, but before I knew it, I was deeply involved in the entire album.

Did you record these songs with Morse in a studio setting, or were they completed through digital file sharing?

We recorded everything in a studio setting. I traveled to Austin, Texas, to meet him, where we tried out a few songs together. I ended up going back for several weekends, getting more involved, finishing the recordings, and even playing a bit of guitar.

Watch Blondie Chaplin in Tasty Kings’ ‘Maybe I’m a Queen’ Music Video

I can see how the emotional depth of the performances contributes to the music feeling very authentic, like it was recorded in person.

Exactly! That was the essence of the experience; it was a cozy little studio atmosphere. I hadn’t worked in Austin before, so it gave me a chance to soak in the vibe of the city, which was quite enjoyable.

What’s your personal favorite track on the album Native Tongue? Which song resonates with you the most?

I have to say “Maybe I’m a Queen” stands out for me, not just because it’s being highlighted, but because I truly enjoyed singing it. The lyrics resonated with me deeply, making it a pleasure to perform. There are other tracks that I liked as well, such as “Done and Dusted,” but “George Floyd” hits particularly close to home, given its emotional weight.

The album features several connections to the Rolling Stones, which I found intriguing. Listening to Native Tongue often brought me back to your time with the band. How would you compare your experiences with the Stones versus the Beach Boys?

Those are two distinct worlds, Nick. Recording with the Stones is enjoyable because there’s a relaxed atmosphere. There’s a lot of room for creativity and improvisation. In contrast, working with the Beach Boys involved more structured arrangements, dictated largely by Brian Wilson’s vision. While both experiences were enjoyable, the Stones provided a much looser and spontaneous environment. It’s reflected in the music—the Beach Boys were fun, too, but the vibe with the Stones was undeniably more free-spirited.

Regarding your iconic song “Sail On, Sailor,” I understand it was initially intended for Dennis Wilson, but he opted to go surfing instead.

That’s correct! He was excited about his new truck, and his surfboard was in the back. Carl wanted him to give the song a shot, but Dennis was like, “Oh man, Carl, the surf’s up, and I’ve got my new board!” He attempted to sing a verse but felt it didn’t suit his voice. Then Carl tried it and also found it didn’t match his timbre. Eventually, I was the last one standing, so I took a crack at it, and that’s how the version that everyone knows came to be.

Watch the Beach Boys’ ‘Sail On, Sailor’ Music Video

It’s remarkable how quickly “Sail On, Sailor” came together, especially considering the complexity of the lyrics.

Absolutely! It was definitely a challenge with all those words. While I made it sound effortless, I had to really focus and lean into the performance. Being young at the time certainly helped in making it sound decent.

You began your journey with the Beach Boys after they saw you perform with the Flames in Kensington and were impressed. What was your first session like with them?

The first song I recorded with them was “He Come Down,” which had a gospel feel that Brian wanted me to sing. Given the Beach Boys‘ fame and history, it could have been intimidating, but I had been performing since I was 12, starting with the Flames at age 14. I was accustomed to adapting my voice to different scenarios, so I relied on my experience and felt quite at ease. Meeting Brian for the first time was fantastic, and we’ve managed to stay in touch over the years.

While Brian Wilson wasn’t always present, he made significant contributions to “Funky Pretty” during the Holland sessions. What was it like to witness his creative process up close?

It was a wonderful experience. I particularly remember “Funky Pretty” because Brian was typically reluctant to fly. However, they managed to get him on a plane to Holland, and it was a treat to observe him as he crafted and arranged the song. It felt magical watching him direct everyone to contribute their voices, transforming the song into something truly special. The way he guided each person to add their part was remarkable, and it all came together beautifully.

Listen to the Beach Boys’ ‘Funky Pretty’

You have reunited with Brian Wilson for various tours and even contributed to the song “Sail Away” on the album No Peer Pressure several years ago. It’s hard to believe that was a decade ago!

Time flies, doesn’t it? It’s incredible to think about.

When you rejoined Brian, did it feel like you were picking up right where you left off?

Since Brian hadn’t heard me sing for a while, he wanted to experience my voice again. He invited me to the studio to record, and we clicked right away. He appreciates my voice and loves that I play guitar, but he’s primarily focused on vocal quality. He was genuinely pleased to hear that I still sounded good after all those years, and it was a delightful reunion.

You co-wrote two songs for Carl and the Passions and the well-loved “Leaving This Town” on Holland. What made you believe those songs would resonate with the Beach Boys?

I wasn’t entirely certain. It was actually Carl who encouraged us to write and get more involved. He appreciated the Flames and wanted to give us more opportunities. He played a significant role in guiding us through the writing process, especially with “Leaving This Town” and the bonus track “We Got Love.” I owe much of that inspiration to him, and it was a fascinating time in my career.

This period of the Beach Boys was ripe for reappraisal, which finally came with the release of the six-disc box set Sail On Sailor: 1972 in 2022.

It’s amusing, Nick, to think that was over 50 years ago now. I never anticipated that the Holland album would have such enduring appeal. It’s fascinating to see how it has resonated with fans over the decades. At the time, we thought it sounded good, but I would never have predicted its significance in the band’s catalog. I’m genuinely flattered by that recognition.

“Sailor” was pivotal in launching the album, as it was initially challenging to find a label willing to release Holland due to its lack of conventional radio hits. Even though it didn’t soar high on the charts, it’s amazing how well-known the song has become over time. I’m thrilled to be associated with such a classic.

Watch Blondie Chaplin Perform ‘Sail Away’ With Brian Wilson