The new House Of Lords album has a lot of people talking. Everyone has an opinion on this record, especially two of the people behind the record - bassist Chuck Wright and vocalist James Christian. Here is what they had to say about the recording and release of The Power & The Myth! Both interviews make for an interesting read.

Hey Chuck, thanks for your time.
First off, let me say that I know your web site is probably the most read melodic rock site on the net - congrats on helping to keep the genre alive…ok now the questions.

The House Of Lords album is done....and it's about to be released. Did you think it would ever happen at some stages over the last year or two?
There were a couple points when we almost threw in the towel. In the beginning, we had to deal with the name usage problem which was a major hurdle. We had serious logistical issues having everyone spread all over the country, coast to coast, and scheduling problems to deal with not to mention a tug of war with the label over material and we had a problem for 6 months with funding. You also have to keep in mind, we are and were all very active in our own endeavors to make a living. Then Gregg bailed on us and the label basically took the record out of our hands. We almost called it a day at that point but there was way too much blood, sweat, tears and years put into to getting this record made so we carried on, dealt with the situation and made the best of it.
Believe, dream, will...and put it in the hands of God. That's my motto.

Let's take it right back to the mid-90's. The band entertained thoughts of a re-union then also. I believe you even had an album title and a Japanese deal. How far did you get before it fell apart?
After James, Lanny and I performed in England for the Gods Festival in 1995 we had a firm deal offer but Gene Simmons basically killed that one by wanting 90% of the deal. We recorded 3 songs on “The Power And The Myth” from that period of time.

You have always kept a close relationship with Lanny Cordola - working together on various projects. In 2000 the wheels began to turn again. What led to this moment?
Yes, Lanny is my best friend and we've covered a lot of musical territory together over the years. James is actually the reason this (original members) House Of Lords reunion came to be a reality. Frontiers contacted him, James called me, I called Ken and Lanny, Ken had been in touch with Gregg , he said yeah, and then we were off to making plans for this record.

So what were the first steps taken to get things rolling again?
We discussed the music we wanted to do stylistically and starting in on the writing process.
We were eager to cross new boundaries and I think we did to a degree. We had tightened reins on us throughout the making of the record however. All in all I do feel that this record stands up to others in the genre and has some amazing performances on it.

Why has it taken over 2 years for those recordings to be finalized?
Under normal circumstances after the songs are chosen and we're all in the same place at the same time, it would take 6 to 8 weeks to record and mix a record. Our debut only took 30 days top to bottom.

James Christian has been living away happily in Florida – did you have any first hand contact with him during the recording process?
Well, if first hand means discussing the music, exchanging ideas and sending
music back and forth, then yes.

Given the constraints of working with 2004 budgets - Is there any way the entire band could have recorded together?
Not really. Nowadays you're lucky to get 10% of the budgets bands had in the 80's and people out there still expect the records to measure up sonically. We did the best we could under the circumstances.

The band has always had Gregg Giuffria involved from the outset, how was it different this time around?
He was involved from the outset, he was supposed to be working on his own anyway and then hook up with us. He agreed to participate but unfortunately 6 weeks or so before completion, as we were still awaiting any ideas, keyboard parts, anything whatsoever from Gregg, he signed a solo deal with our label (Frontiers) and said , “now that I have my own deal, I'm not doing this House Of Lords record”.
He didn't seem that into it anyway since he didn't partake in the new compositions. He did have plenty of opportunity to contribute however - over two years should be enough time to come up with a song idea I would think. After this, the label said our deal was now diminished by what they still owed us because Gregg was not on it so we had to finish the record asap and now being under budgeted, not being able to complete it the way we originally intended. We wanted to add some bigger chorus sections on a
few songs and spend more than one day on finishing the keyboards and a couple days finishing the rest of the guitar overdubs. We were also planning on mixing at a state of the art studio.

Were you disappointed that Gregg chose not to be involved in the end and at the last minute?
Yes, I was shocked, disappointed, stressed and really surprised that our label would cut a side deal with a band member before we had completed our record. Not a very wise move on their part but they don't know Gregg like we do. I would've suggested they wait. We actually recorded a song called “Havana” because Gregg was a writer on it just to involve him more.
We didn't have to do this. The label didn't even want the song but we pushed for it on his behalf. (The song now appears as a bonus track for Japan.)

How many songs were written for the album and how did you come to decide on this final 10 track line-up?
We wrote a lot of new material, actually over 30 songs. We actually covered Bjorks song “Army Of Me” and a ballad from a band called The Young Bloods from the late sixties called “Darkness, Darkness”, but of course our label would have none of that. There was a style and sound we were known for so we had to try and stay within those guide lines to a degree or we would have our material rejected by the label. We found this out in the early goings.

There's a noticeable style change in the band - what were the intentions of the band going into this record?
We tried to make a record that would sound the way we would if we stayed together for the past decade. We are hoping our fans have have grown with us and will listen to the record without expectations. It has been 12 years afterall. Personally, I can't write a song like “Looking For Strange” and take myself seriously at this point in my life experience.

House Of Lords have never recorded the same album twice - there's always been a twist in your tunes. But in this case, why such a move away from the sounds of the past?
Umm...12 years, a lot of growth, having open minds...and again, if we were able to finish the record the way we wanted to you might feel a bit differently so, you have to look at it for what it is, not for what you wanted it to be or what it could've been.

I understand your points on this - but to add mine in - I think fans are going to miss the big choruses and the big harmonies you are have always been famous for - style aside. Any comments on that?
Well, you should do some research because our two most successful songs,
”Can't Find My Way Home” and “Love Don't Lie” do not have harmony vocals
on them at all.

You know the scene in which we all work - does it frustrate you that some don't want any progression in the music at all?
I work in many scenes, in many genres and have always grown as a musician and listener. It's too bad that some people can't enjoy music for what it is, an art form, a hopefully free expression, not a cookie cutter, gotta sound like this band or that band or I'm not even going to give it a chance sound.

Let's talk about the performances. Those of you, Lanny and Ken I think are a definite highlight of the album. How have you three grown as musicians?
We are always nurturing our talents working on one music project or another. We were also able to work directly with each other and fed off of the energy in the studio together which I think comes across big time on this record.

And how did you apply yourself and the more intense and complex arrangements to this recording process?
The same way I always try to do...groove with it and feel it . It was easy really when you work with musicians at this level.

xx

We know Derek Sherinain is a class player - how did you get him involved after Gregg's departure?
Derek's been a friend of mine for a few years. I did the art work for a couple of his CD packages and have seen him live with his band Planet X and with Dream Theater. He was the perfect guy to step on....I mean into Gregg's shoes. Unfortunately Derek had to leave on tour so we only got him on the title track...I bet Gregg's mouth will be on the floor when he hears Derek's solo!!

And Sven Martin and Allan Okuye - how are these guys known to you?
Sven is a friend here in L.A. but he's from Germany. He plays with the band Tattoo and is a writer on the songs “Today” and “Man Who I Am”. It made perfect sense to bring him in on those tracks since he was so close to them. He's an awesome orchestrator. I never met Alan until the day I worked with him in the studio. The guy the label hired to take over the record brought him in. He did a good job under the circumstances of only
having hours to create parts for many songs.

No producer attached to this record - were you happy to handle it yourselves?
Lanny, Ken, James and I have all been producing records over the last decade so it made sense. I just really wish we would've been able to see it through and finish it the way we wanted to. It does sound damn good but we had some bigger plans for it.

I think the album is very well produced - nice and evenly mixed. But I do recall some instrumental basics you played me in LA had a little more life in them than the finished product. What do you think?
We didn't master it so that could be the difference. That was done in
Italy by the label.

I've already talked to you and James about the vocals on the album. I think James is a little flat - what do you think and could things have been done any better?
I'm not sure what you mean by flat. He is on pitch so if you mean dryer than our other records.. I agree, that's how it was mixed.

Where does House Of Lords go from here Chuck?
We're currently discussing doing a live DVD or possibly releasing footage from the sessions with some acoustic versions of some of our older material. I'd love to get out there and play live again with this band. We'll see how the record is received by the fans. If it goes as we'd expect it to we'll decide at that time if we can to do a tour.

Besides HOL, you are a busy guy...you recently toured with Alice Cooper - what was that like?
What can I say...The 5 month, 17 country tour I did with Alice was so fulfilling. A great band, great crowds and seeing places like Moscow, Paris, London and Barcelona, who could ask for more. I felt very blessed to have been a part of it.

What else have you been working on mate?
Besides doing all these interviews daily for this HOL release???? Is there time???? lol!
I have a new production company that is involved in a new music driven movie project and we're shopping some music projects overseas.
I've been working with a good friend of mine who's an amazing singer /song writer named David Victor. We've been developing material for a new project. Currently, I'm
working on a web site for bassist Jerry Best (Courtney Love, Lion, Dio) which will be up and on the net soon at www.jerrybest.com, and I've begun work on a CD package for radio personality "The Radio-Chick" out of New York City.
Matt Sorum (from Guns & Roses, The Cult and now in Velvet Revolver) has a solo release called "Hollywood Zen" that I played bass on, created the art work and layout for which is now available through his web site at www.mattsorum.com and will soon be at
retail.
I played bass on a couple of songs last year for a singer/songwriter out of Italy named Chris Catena, that just came out on Frontiers Records. Bruce Kulick and Eric Singer of Kiss fame join me on these tracks.
Prior to leaving last fall for the Vanilla Fudge tour , I recorded the bass tracks for French Warner Brothers recording artist Audrey Forrest . She has some amazing material and a very fine voice. Ken's drumming on this one as well. That should be out soon. I just finished a rock rap project called "The Good, The Bad and The Heavy" with Lanny and Pat Torpey. We covered a lot of classic rockers like "The Immigrant Song", "Back In Black", "Paranoid", "Hey Joe" and more with a couple original pieces thrown in for good measure. Rappers from Cypress Hill, Crazy Town and other notables do their take on the tracks.
Everyone should check out Mr. Big's / Influences & Connections that I worked on with Lanny. It's a very unique project in which Mr. Big classic songs have been revisited featuring all star vocalists and guest musicians. The guys in Mr. Big are on it too.

The new CD features Artwork by yourself - and you have done many other packages including my very own CD release Revealed & Revisited - many thanks to you again for that. When did you get started on graphic arts and how did it expand into doing album covers?
You are welcome Andrew...I was always drawing on anything when I was a
child, my desk, the wall etc. I discovered the art programs available on computers about 9 years ago and the sky was the limit. It's been a great way of creative expression for me when I'm not out on the road or in the studio recording. Because of my many music contacts it was a natural step to get into doing CD art work. Oh... how I wish we still had that 10 inch square cover from the old days to work with. In creating the art work for the HOL cover and most of the package, I tried to keep the integrity and feel from our debut and Sahara intact. That's also part of why I came up with the title “The Power And The Myth”, it has a Lordly feel to it.

Have we missed anything Chuck? Anything you would like to add?
We all hope the rock fans out there will judge this record from a clean slate and not thinking of it as a follow up to “Sahara”. Just set aside their expectations and enjoy it for what it is. A musical adventure with thought provoking lyrics and kick ass
musicianship!

Thanks again for doing the interview. I know you were pissed with my review of the album as were the label, but you remain a cool guy. Cheers.
You are welcome.

JAMES CHRSTIAN

So James, thanks for talking to me. This is a tough interview for me, as I have the utmost respect for you as a writer and performer, but I must confess to being disappointed in the vocals on the House Of Lords album.
Let's go straight to that if you don't mind. In my review, I said I was disappointed and felt that the vocals were too laid back and not as powerful as your solo album and past HOL albums.
How were the vocals recorded for this album?
The vocals for this CD were recorded no differently than any other CD I have done in the past. I used an AKG Microphone which I love and put very little EQ and compression as I like to add that in the Mix. This particular set of songs were a bit of a challenge to sing as they were in much lower keys than I am accustomed to singing in. However the approach that Lanny & Chuck took to writing the songs displayed some very creative moments and I really liked what they were going for. I knew when I heard the tracks that the vocal approach would end up being very different from what most people were used to hearing.

You recorded all of them at your studio in Florida didn't you?
Yes I recorded all the vocals in my home studio which is a Pro-Tools set-up.

Is that an ideal situation?
It is a perfect situation for me as I like to work alone. In the majority of everything I have done, there were few people involved. I sing best when I can do a few tracks, then listen and live with what I have done. I always know what I am looking to accomplish with a vocal.

Did you miss the "band in the studio" environment?
"Band in a studio" is always inspiring when you are laying down tracks, But when the time comes for the Lead Vocal to be done, I like having just bare bones without all the overdubs so that I can have room to experiment.

What form of the tracks were you given to work with and how did you piece it together?
I was given rough mixes of everything on two tracks. Then i would lay out Five open tracks and then take the best of each of those tracks.

Recording process aside, did you approach this album differently than past albums?
The approach is always the same. I like using the same compression and Mikes that I have used in the past. I like to sing in the evening and I like to sing NAKED! (Only Kidding)

And are you personally happy with the results?
I always wish I had done something a little different on a every record I have done, but for the most part, I was happy. This record was not written to produce 5 hit singles and there are no "Commercial Songs" on the CD. The bombastic choruses are not always there but in its place are some very moving and thought provoking moments.
You just have to get past the fact that it sounds different than a typical HOL CD.
My voice is not pushed to the limit on most of the songs because quite frankly, they were more musical pieces than vocal pieces, I did not have a problem with that concept.
We all would do things differently if we had the chance. I try not to look back and keep my focus on the future.

Can you tell us of what involvement you had in the songwriting process for the tracks of The Power & The Myth?
The only song that I contributed was "Living In Silence". I had no idea it was being recorded until Lanny told me. The rest of the material is from Chuck, Lanny and a few other writers. I would have loved to contribute more.

A House Of Lords re-union has been a difficult thing to get done. What was the reasons behind the failed attempt in the mid-late 90's and why did it work out this time?
I think the Mid 90's was too soon for another HOL CD. Music has changed dramatically in the 90's and today there is little left of that type of sound. However with websites like MelodicRock keeping the style alive it seems more appropriate to get together and do a new CD now.

This album was complicated enough, but do you see another House Of Lords album in your or the other guy's plans?
God willing, if there is an opportunity for us to record again, we will.

What else have you been up to James? You have a busy job I know, can you tell us about MRA Associates and your job with them?
I own a Medical Recruiting Firm. My company finds Doctors for Hospitals, Medical Groups and Private Practices. My business allows me to do all the things that matter in my life such as, continuing to write and record songs and spend time with my family.

I hear you are working on a new solo album - can you tell us any of the details behind that and the possible style it might be in? It's been a long while also since Rude Awakening!
Yes I am currently working on the solo CD. The style is very much in the style of Rude Awakening. There are some songs I recorded for Judith & Robin Randall that I always wanted to put on CD and there is also a bonus track of a song I did with Lanny called "Mad Moon Fall" It is one of my favorite vocal performances. I just connected with the lyric and did the lead vocal in one take. So far I am loving it.

I have to ask after Robin...when is her album going to come out?
I remember talking to you a couple of years ago when you and her were working on it and then mid-late last year there was a press release about it and a preview and album and single cover to view - but still no sign of it. When's it going to be available and how?
Robin was just on a show in Germany called Hit Giganten, She was great! Her new single is scheduled to be released in March with the full CD to follow. I produced 8 tracks and had a great time doing it. The single is called "What Is Me".
She has the best female rock voice I have ever heard. I do not say this simply because she is my wife, but because I had the opportunity the sit behind a console and hear let loose. Her range and power are limitless.

Do you have much contact with any other rocks from the "old days" down there in Florida?
I still keep in touch with my music buddies. Most of them come down here for vacations. I live in West Palm Beach which is a resort part of Florida. This is an incredible lifestyle.

How is Mark Baker? Are you still writing and working with him? It's been a while since I heard his name mentioned!
Mark is doing fine. He is working on an Internet project. It has to do with music but I am not exactly sure what it is. I have not written with him in a while.

Anything else going on that you would like to talk about or comment on James?
I would like to say to you that I respect your opinion regarding your comments about this CD. You have always been a major supporter of our music and we appreciate that. I can take criticism as long as it comes from knowledgeable people. Although I totally enjoy listening to this CD.

I still think you are one of the great rock vocalists of all time - do you have a favourite piece of work or song from your vast catalogue of work?
Yes I do. Actually "Child Of Rage" is one of my favorite performances as well as "Can't Find My Way Home & "Remember My Name"

There remain a lot of unreleased James Christian music/demos in circulation from over the years - is there any chance some of that might still see the light of day?
Yes you might hear a few on the new CD.

Thanks for your time James and take care for now.
Take care Andrew, it was a pleasure.

1. Today
After having several of our new songs rejected by our label (Frontiers) for failing to follow their strict guidelines of that “80’s corporate rock” required sound, we submitted this outside written song. There was something about the chorus that reminded me of material from out debut. This song was not intended to be the opener of the album but apparently the label president felt it represented the signature HOL sound best. I guess he didn’t want to confuse people too much. This resequencing of the songs was a BIG disappointment for us.

2. All Is Gone
This is a new song that Lanny, Pat Torpey and I put together. We used a an old Jethro Tull type harmony part for the bass and guitar riff. It has an interesting mid eastern influenced middle section. A straight ahead mid tempo rocker. Like a lot of the other material we came up with, Ken finished this song with us in the studio.

3. Am I The Only One
this one is a bit newer. Lanny had the ideas for this a few years ago. A ballad in 6/8 time. A moody track with East Indian guitar influences. There’s an outstanding, beautifully melodic guitar solo from Lanny. One of my favorites, every note counts on this one.

4. Living In Silence
This song was written by James in the mid 90’s but we changed the verse from it’s original speaking/rap style to a melody. A bit of a modern style mixed into the melodic structure with rockin’ heavier guitar riffs, and a lot of big drums ala the song “Sahara” The middle section of the song really gets outside. A good one for head phones.

.5. The Power And The Myth
This song was originally intended to start the record. It’s a short instrumental filled with majestic melodies that brings back memories of our debut, especially the amazing keyboards which are performed by Derek Sherinian (formerly of Dream Theater) coupled with a tasty Jeff Beck style melody from Lanny. I came up with the music for this in England while on tour with Alice Cooper in late 2002.

6. The Rapture
Originally written for the mid 90’s HOL release which didn’t happen. Lanny plays a lot of unusual exotic instruments like the Bazouki, Balalaika and Turkish Banjo so we tapped into that. This instrumentation was integral to getting across the musical landscape and mood of the lyrics. There’s some amazing violin playing by Charlie Bissoret (from Bob Dylans band) . All the instrumentation is real, no samples Sitar, Cello, and ethnic percussion.

7. The Man Who I Am
Another new outside song discovered with the song “Today”. Famed rock singer and James Christian’s wife, Robin Beck, shares the bridge with James on this one. This is probably our most commercial song on the record.

8. Bitter Sweet Euphoria
This song opens with an assault of slammin’ drumming from Ken Mary. It is little darker than you ‘d expect from us but has a really strong melodic chorus that brings to mind The Beatles meets Led Zepplin.

9. Mind Trip
This is a new one that has a seventies retro vibe ala Deep Purple’s “Machine Head” days. It's very raw and we really get to show off our chops.

10. Child Of Rage
This was written in the early 90’s and we kept some of the performances from those sessions. By far one of James Christians best vocal performances ever. A powerfully massive melodic ballad. It has an almost Gospel feel. A nice closer for the album.

McQueen Street was another classic American hard rock act that was swept aside by the grunge revolution. But thanks to persistent fans, good music and the Internet - they're back! I talked to frontman Derek Welsh about the road to their second CD release.

Derek, great to see a new release from the band on the market. A lot of classic hard rock bands are utilizing the Internet to reconnect with old fans and make available music and merchandise that they otherwise would have a chance in releasing.
At what point did you decide this was a good idea and how did you get started?
I've been thinking about doing this for a very long time. Actually I've been involved with the Internet and music promotion since the mid 90s. There's no doubt that the Internet is a great vehicle for music.

To someone who hasn't heard of the band - can you describe your sound and attitude - this is your chance to sell yourself :)
Hard driving, in your face, no frills hard rock.

How did the band get started? What are the origins of the band when you first hit the scene?
We got our start in Montgomery, Alabama in the late 80s. For 3 years or so we played every rock club in the Southeast and probably stayed in every flea infested hotel along the way. We played to packed houses and we played to handfuls of drunks that probably have no recollection that we were ever there. We played 5-7 nights a week. It didn't matter where we were, we were on a mission and we rocked as hard as we could.

You signed to a major for your debut - were you happy with the way that was released and marketed?
I was very happy with the actual recording of the record. I really liked working with the producer Tom Werman and the engineers Eddie Delena and Neal Avron. However, I wasn't happy at all with some of the marketing ideas. I was VERY opposed to the album cover with the woman and the truck. I remember the day one of the marketing guys showed it to me. He asked me what I thought and I told him I hated it. It became pretty heated and it pretty much came down to what I consider to be “the my way or the highway” scenario.
Like a lot of artists, we had to give up some creative control in order to get our music out there. It just wasn't a very accurate depiction of what the music or band was all about.
I think they really tried to tie us in with that whole sex, chics and partying thing. I'm not sure what the hell they were thinking. The first three singles were My Religion, In Heaven and Time. Not a very cohesive marketing plan in my opinion. Sorry, about the rambling. I could write an entire book on the subject!

Were there any specific areas or promises that were not fulfilled by the label?
Sure, lots of them. I don't want to get off on a negative rant about the whole thing but there were more things non-fulfilled than were fulfilled. I'll spare everyone the boring list.

Any great or favourite memories of the months surrounding the release of the debut album?
Sure. I have lots of great memories around this time. When the My Religion video aired on MTV was a great moment. One that really sticks out in my memory is when we were flying in to Los Angeles - I had my headphones on when we were landing and heard McQueen Street on the radio for the first time. I think it was on KNAC and we were headed to do a big show with bands like Alice In Chains, Armored Saint, Bang Tango and a bunch of other really good bands at Sammy Hagar's place in Cabo Wabo.

So what went wrong for the band?
Things that were out of our control. It was the day that music died. As all rockers know, when Teen Spirit hit the airwaves the industry changed dramatically. Anything that looked or sounded remotely like hard rock or metal instantly became taboo. When MTV and mainstream radio refused to play all of the artists in our genre we were all doomed. There was no Internet to save the day. The bands were screwed. The fans were screwed. The band moral was depleted and so were our funds. We simply had to move on.

Tell us of the frustrations of life in 1993....
We all had the rug pulled right out from under us. Personally I was at an all time low and I had to make a decision as to whether I wanted to sink or swim.

When you split, what did you and the other guys move on to do? It's been quite some time since we heard from you all!!
I had always been into different styles of music but hard rock was and still is my passion. I decided to start writing and performing in a different vein of music. I spoke to our bass player Richard and told him I wanted to do a new project. We formed the band The Rat Race which was more of a classic, folky, trippy, sounding band. It was about as far off from McQueen Street as you can get. The Rat Race was not heavy in the McQueen Street sense. No screaming vocals, no shredding guitars. The only heaviness would be in the lyrics and the actual playing. I just wanted to move in a completely different direction. I kind of a had to bury the entire hard rock persona just to keep my own sanity. I worked for a long time writing and promoting Strange Dreams, my book of poetry and ramblings.

And was it anything specific that got you fired-up to release the second album?
It seemed that McQueen Street just wouldn't go away. We would hear about different tracks being used for commercials, sporting events, etc. As the Internet came more into play, rock was able to start resurfacing. It's my philosophy that rock fans and rock musicians never went away. With the Internet, things have been able to resurface again. When the singer from Puddle Of Mudd decided to wear a McQueen Street shirt in the She Hates Me video my phone started ringing. I'd always thought about calling the other guys at some point but my wife really pushed me to do it.

Tell us about the songs from the album - when were they written and recorded etc?
Many of the songs were written in at a beach house in Florida that I rented. I pretty much camped out for a few weeks, had no phone, a TV that had 3 channels and all of my recording gear. I didn't talk to anyone for weeks and just sort of immersed myself in the whole process. We recorded them at various times and places.

Any favourites from the tracks included?
Like most people, I have different favorites for different moods. As an aggressive rocker I'd have to say World Machine. I really like performing that one live. On the mellow/dark end of things probably The Last Breath or What About Jane.

Are there any other McQueen Street recordings that have yet to see the light of day?
I'm currently writing some new material and there are quite a few songs that we've recorded that we may be releasing in the very near future.
If all goes well we may have another CD out within the year. We're also considering adding an option on our Website where you can purchase and download individual tracks. If we get that into place it will be sooner rather than later.

What are the rest of the guys doing right now? Are there plans for a new set of recordings, a few live shows or anything else?
Everyone is busy doing the day to day things we all do. We've all got our hands in the McQueen Street thing and are definitely going to be doing some live shows, recording and appearances. We're currently working on some large rock festivals in the US and Europe.

Where in the US are you located and is there any rock scene left in that area?
We all live in different states in the South. Tennessee, Florida, Georgia, Alabama. I m not sure there s an entire scene anywhere but there are some clubs that are popping up again.

What's next for Derek and McQueen Street?
Live shows, new songs and I'm nearing completion on a new book of poetry.

Are there any other bands out there you still admire - who you think are doing a great job and are there any you think should retire already? :)
I saw Cinderella a few years ago in Nashville and they are still an amazing band. One of the best live shows I've ever seen. AC/DC is still kicking hard. Sebastian Bach is one of my favorite rock singers. Some of the newer bands and artists I really like are Audioslave, Puddle of Mudd, Kid Rock and Sevendust.

And what are you currently listening to or what CDs have you recently purchased?
I listen to a pretty wide range of stuff. In my car I've got The Doors, Audioslave, UPO, Steve Earle, Sevendust, Guns N Roses, Sheryl Crow, The Rat Race, and oh yeah, McQueen Street 1 & 2. I got a really good deal on those last 2 so occasionally I feel obligated to listen to those. :-)
In my house I mainly listen to Baby Einstein and Bob The Builder discs. Our 19 month old says they really rock so I go along with it.

Anything you would like to add?
I just want to thank all of the rock and metal fans out there that continue to show their support for us and all of the other bands in our genre of music. I truly am grateful for all of the emails and letters that people have written to us. Most of all I d like to let the people know who continue to buy and play our music how much we really appreciate it.

Thanks again for doing the interview.
Thank you it was my pleasure! You've got a great Web site and it helps keep the music alive.

Mikael Erlandsson and Andy Malecek talk about the new "supergroup" project that seesm the guys team with the trio of Ian Haugland, Mic Michaeli and John Levén from Europe. Both guys were asked a set of questions - some involving the LAD project were the same, some different, so the interviews are posted one below each other.

Mikael Erlandsson:

So Mikael, it has been a busy year for you. Your solo album and now Last Autumn's Dream. I am impressed with the album - how did the idea to form this band get started?
It started as an idea during performing my solo-songs live.. all songs we played
were more like , " hard´n´heavier " in the same time my record - company in japan
had the same idea to put a "band-feeling" into my songs, so , my management and the company and i put this dreamband together......

And where did the name come from?
The name came up as an idea from the brilliant company in Japan (the name was too good to reject) ha ha...

How long did it take to get the line-up together? I must say that I think it's a great combination. How did you meet and hook up with Andy and the boys from Europe?
A couple of seconds, they all thought that this project would be great fun. I use my management here in Sweden, and my record company in Japan to get in touch with the boys - for me it's like a dream-team...

I don't have the writers credits here, but who wrote the songs and when were they written?
"Again And Again "," Talk To Me "," The One" , "Goin´ Home" ,"Doin´ Time" and "I Never Let You Go” were written by myself and Andreasson/Wassenius .. A team in our own studio here in Gothenburg , Sunday music during last spring..."guardian angel " is a "crystal blue - song" written by Thomas Lassar .. The rest of the songs is written by the great German songwriter Rick Wrightman , excellent tunes !!!!

Where was the album recorded and how long did the process take?
In Stockholm , Berlin and Gothenburg , took about 1,5 months.

Where did the bonus track for Europe come from - was it recorded in the same sessions for the album?
Yes, at the same time.

The concept behind the music was to take your voice in a more rocking direction. How did you feel about that over the softer AOR of your solo material?
I'm use to it, because of my live performances (much harder and heavier live).

Was it fun to stretch the voice to the requirement of this album?
Of course! - I loved it!

Was the aim fulfilled? I enjoyed the couple of heavier tracks the best and would love to hear you go even further like this - are there plans for further LAD albums?
There will be a follower album, that's for sure. And it's a promise it will be more "edgy" than this one .. I have already a couple of songs.

Is there a lyrical theme or message throughout this record?
No! It's just songs... it's up to the listener to decide if there's a secret message ... he he he!!

Are there any plans to play live in support of this release, either in Japan or Europe?
Hope so - we'll see how it goes.

What are your favourite moments of the album?
When Andy have his moments - like the solo part in "Goin Home" whoooaah!!!

To anyone that has yet to hear the album, how would you describe it?
80´s rock meets 2004!!!

Tell us about your solo career - I really enjoyed the 2003 solo album - what are your current solo plans?
What can I say, I write songs almost every time I have a free spot left in my schedule... I have like 50-60 songs in my bag for the future ... he he, let's see how this LAD - project turns out to be. Keep that question open...

Do you have a favourite album from those you have recorded?
"The 1" and "The Gift" are my pearls.

How is life in Sweden as a working musician? Do you enjoy the rock music community there? It seems very strong.
It's amazing how many great talented bands and musicians we have here. I must say that I feel very blessed for having this opportunity for making albums when so many out there just earn to have a huge career....

Is there any other projects or albums you would like to make, or people you would like to work with in the future?
My dream, since I was 12 years old and heard the band ELO for the first time,
was and still are, to work with "the master of music" Mr. Jeff Lynne ..it's good to have a dream , though.

And is there anything you would like to add?
Just wanna say that I'm so thankful for doing this......
Thanks very much for taking the time out to answer these questions for me!
You're welcome!

Andy Malecek:

Hi Andy....great to hear you back on the recording scene. It's been a few years now since the demise of Fair Warning, what have you been doing between then and the start of this project?
I needed some time off. I was taken ill in 2000. And after I recovered I sort of wanted to do nothing but play the guitar, meet some friends and maybe play some gigs with bands that were very different from FAIR WARNING. You see, Helge and Ule preferred a very loud set-up for the stage when we toured. I couldn't see why it had to be that loud on stage, let alone for the PA. They would use ear plugs, I didn't. So I wanted to be in some band again for a change that played with and listened to each other much more on stage. So I joined, it might sound funny, a local Country band that played almost entirely acoustic. That was fun for a while but soon enough I started writing material again, mostly instrumental, and trying to pursue my dream of a solo album. While looking for a singer for that I was introduced to Mikael and we founded Last Autumn's Dream.

Do you miss the days of Fair Warning?
Yes and no. Back in the early nineties joining this band really was a huge step forward for me. It brought me to daylight and allowed me to share an enormous success I had never experienced before. On the other hand despite the long time we were together I only made real friends with some of the band, Tommy Heart for instance, who also lives in Berlin. Also I couldn't by far contribute to the creative process of the band as much as I wanted to. At a certain point the time had come for a new path to follow. One that is much more my own.

How did the idea to form this band get started?
Well, here I was, recording solo material all by myself when Fair Warning's last record company, Marquee Records in Japan, sort of knocked at my door wanting to know what I was up to at the moment. I sent them my solo stuff. They liked it but suggested to ally with a singer they had long signed and who had been very successful up to that point in Japan as well. That singer was Mikael Erlandsson. We exchanged demos and soon decided that we wanted to meet each other. The record company was delighted and so we met and locked ourselves away with a guitar and a piano. That's when that real “Last Autumn's Dream” feeling really was born. After I returned to Germany we kept contact over the phone and continued working.

And where did the name come from?
At first there was just this kind of melancholic air that emerged when we exchanged ideas. Strangely, we felt most comfortable with this kind of moody and mellow tone. So when the time came up to find a name, many people volunteered to suggest names that would capture this air. In the end it was Marquee again who seemed to have the best intuition and empathy for the whole thing and they suggested “Last Autumn's Dream” and we sort of said in unison “That's it!” And when you listen to the album, despite some real tough stuff like “Talk To Me” or “Break the Chains (Of Destiny) there are more moody songs and ballads on it than on any Fair Warning or Mikael Erlandsson album before.

How did you meet and hook up with Mikael and the boys from Europe?
Meeting Mikael seemed to spark an instant synergy. For me the time was ripe for a thing like this to happen. So when our demos had shaped into a semi-presentable form, Mikaels long time producer, Ulf Wahlberg, who seems to know each and everybody in the Swedish rock scene asked the Europe-guys Ian Haugland, John Leven and Mic Michaeli over and played the stuff to them. And they said: “We're on!” What more can you ask for?

I don't have the writers credits here, but who wrote the songs and when were they written?
Mikael had very melodious and catchy song ideas which only weren't arranged yet. So we decided to keep the credits where they belong, the one who had the original idea. I started working on arrangements for his songs and at the same time to work on some singable material with my producer in Berlin Rick Brightman, because there would have been an imbalance of my instrumental pieces and Mikael's songs. Out of that the very heavy guitar oriented “High Up” evolved.
When finally the set for the album was to be assembled the record company was hesitant about my instrumental pieces. So Rick, with whom I work very closely together, jumped in and provided some really cool ideas. I enjoyed working out these songs very much. Mikael liked it and so our stuff kind of coined the album to an extent as well.

Where was the album recorded and how long did the process take?
It's funny how things sometimes fall into place. Ulf Wahlberg's studio seemed to be the best place to go. He is in Stockholm. But Mikael has his own studio in Gothenburg which he specifically set up to take his time and work out the vocals in perfection. I myself felt most comfortable in Rick Brightman's studio and so we thought about a way to combine the best of three worlds (pun intended!). It required more communication between every party involved and a good deal more discipline but it worked out. Torbjörn Wassenius, Mikaels producer in Gothenburg, carefully collected the stacking layers of the songs and the first one he finished mixing was “Break the Chains”. He put it on his server, we listened to it and it blew us away!!! From then on we went even more nose to the grindstone…

The feel of the album isn't too far removed from Fair Warning, is that how
it was planned - is that your natural style?
In a sense you can't help being influenced by a band you had your mind about for such a long time. Fair Warning's music has some great moments. And in being a part of it I learned to look for these moments in the future in my own career. With Last Autumn's Dream I resumed that search and have found moments that would have never been possible with Fair Warning.

Did you have a lot of interest from European labels? How did you come to
chose Frontiers?
The Frontiers Deal went rather quick. It was basically one call from Ulf and FRONTIERS left no doubt that they wanted it and fast! For all I know FRONTIERS is the label to go to in Europe if you do Melodic Rock. Have a look at their roster, it's impressive.

Are there any plans to play live in support of this release, either in Japan or Europe?
When we hit the LP-charts in the first week in Japan we really felt quite an itch to go over there and rock some places. I have some fond memories of tours in Japan and I'd love to go back there with my own band. But we had to look at it logically. You can't really play a headlining show with one album's material. On the other hand supporting acts are generally not customary in Japan. So we decided to keep it back until after the next album which holds for Europe as well.

What are your favourite moments of the album?
Hmm, I love listening to the thing in one gulp actually. It has this round feeling that let's you enjoy each song and then look forward to the next. But ok, there is this beautiful mellow-melancolic yet immensely strong building-up ballad by Mikael “Going Home”. It's the last song on the album and it kind of sums it up really. A guitar magazine in Japan went so far as to transcribe my solo from that song which made me really proud. “Again and Again” is up to become our very own AOR hymn per se and is our no.1 radio song at the moment. It's a very catchy song which opens up the tracklist.
In between these two ends you have the broad rocking “Break the Chains (Of Destiny)” thundering through your speakers which contains some long developing solo passages which I particularly enjoyed playing. The same goes for the heavy rocking “High Up” that during the solo parts becomes also very melodious. That's the great thing about Melodic Hard Rock, see, you can combine the two worlds which can make a song so much richer as a whole. “Never let you go” is my favourite Westcoast-like tune and, well, “Blink of the Eye” is simply such a round kind of thing, that it makes me smile every time I hear it. That one is also played on the radio a lot.

To anyone that has yet to hear the album, how would you describe it?
This album combines all the colours of mid-autumn leaves. Sad, angry, overwhelmed, reminiscent, desperately lonely and deeply touched. It opens up the path to all these emotions because here they are being melted into music…

Do you have a favourite album from those you have recorded?
Apart from this one I guess it has got to be FAIR WARNING's debut album back in '93. We were all working together closely in the studio, had a great producer and everybody was inspired by the many ideas we had and our plans for the future.

Is there any other projects or albums you would like to make, or people you
would like to work with in the future?
Well, I used to have more ideas about that before I met Mikael. That encounter however showed me that some great things in life can happen seemingly by chance an unplanned. So I guess I keep on working and see what happens. However I am really glad to have found Rick Brightman as a producer and writer. He can get me back down to earth again when I'm too carried away and at the same time he surprises me with his excellent ideas ever so often. That's a rare thing too.

And is there anything you would like to add?
Ok so to all you young guitar players out there: start playing and practicing hard while you're young, 'cause you might not have so much time to do so later on!!

Thanks Andy!

Johnny Lima talks about the frustrations of life within the melodic rock scene in 2003 and in detail about his new album Made In California.

So Johnny, all this time we've been mates and I've been plugging away for you on the site, but this is our first interview?!! Thanks for pointing that out by the way...make me feel bad and all!!
Yeah, I was beginning to think you didn't like me. HAHA!

So Made In California is done, complete, finished and on the verge of a release. Can you believe that?
I won't believe it until I have the finished product in my hand. I keep checking my mailbox, but nothing's arrived yet.

Even better - can you believe you and Danny Danzi have album's released in the same month???
You mean to tell me Danny's album is out and that little bastard hasn't sent me one yet?!!!

Not yet, but it's out in Japan December 17. Made In California is a great album - you must be very pleased with the results, but how do you view it now, looking back over the last few years and past albums?
I still think it's a great album, and definitely the best one I've done so far. I've lived with this album for quite a while. More than anyone else and I still get a rise when listening to it. There are a lot of great moments on this album, and it's definitely something I'm very proud of. I really believe this album is a huge leap forward from the other two albums. Everything about it is better. The songs, the production, the performances. Everything!

To me, it sounds like a natural continuation from Shine On. Is that how you view it and what you had intended?
Yeah, I guess so. I always keep my current fan base in my mind when I'm making an album. No matter how much I want to get away from the classic melodic hard rock sound, something keeps bringing me back. I'd love to make a power-pop album, or a "nu-breed" album, but something tells me that it wouldn't go over very well with my fan base. That's not saying that I let them dictate what I write and record, it's just me taking them into consideration when I'm making an album. That's why you still hear that classic sound, with a few modern twists. That way I can keep the fans happy, and myself happy at the same time. It's a win win situation. I don't think I have the balls to completely alienate the fans that have been with me for so long.
Maybe I'll come up with something totally modern, but I won't call it Johnny Lima.

In the future then?
Definitely. Craig and I are talking about doing something together. More like Rob Zombie but with huge melodies and vocals. So sort of like Melodic Hard Rock/Metal with Trance music mixed in. Jason and I also talked about doing something together, but he moved to Sacramento, and it's a little hard to get together and write. So who knows if anything will come out of that.

When you started out on writing and recording of the album, did you have any idea it would take so bloody long to finish?
No not at all. Just like I didn't know I was going to be married or have a son, or buy a house. The only thing you can be sure of is your next breath, and there's still no guarantee that's going to happen either. I hope it never takes me this long to make an album again. If it does, let me apologize ahead of time. HAHA!!

Ok, so now's your chance to explain just what went into the recording of the album and why it took as long as it did...start at the beginning!!
I started writing for the new album in the end of 1999. I had about 5-6 songs written by the time I started recording in January of 2001. By the end of 2001 I finished recording 7 songs and then my son was born. I didn't write or record for a few months after that. So then I started mixing those 7 songs because I didn't have any others written at that time. I must have mixed each of those songs a hundred times. So by the time I recorded the rest of the album, we were already halfway through 2002. Time flies when you're stressing out!

How many tracks were written / recorded to give you the final 11 tracks that make up the album?
13 songs were recorded, and Mark Ashton only wanted 11 on the album. I'm not sure as to why he only wanted 11, but I'm not going to argue with him about it. This album is short and sweet.

Where you still writing while recording? I'm wondering if you added any tracks at the last minute, as you preferred them over another track?
I was writing, but none of the new songs were for this album. The songs I was writing were going to be for Ted Poley's solo album that never happened. Maybe I'll include those songs on the re-release of the debut, or just put them on my website for anyone to download for free.

So, you must have some favourite tracks from the album - let's here some thoughts on the tracks if you don't mind:
· Made In California
This was a pretty heavy riff that I had and was going to use to pitch to Anatomic. However, after I finished writing it, I decided to include it on the album. This isn't really the type of song that I'm into. I think I'm pretty much done with crotch rock these days.

· Best Night Of My Life
This was the first song I wrote for "Made In California". I wrote this at the end of 1999 after I got back from England. I was totally pumped up from the show, and I just had to write a song about it. The crowd made a huge impression on me, and I will hold that night in my heart for the rest of my life. Thanks England!!

· Chosen One
This was the last song written and recorded for the album. I was totally burnt out and couldn't think of anything to write. So I asked Ted if he can write the lyrics. I gave him the concept and he took it from there. Had the song finished within a week. Ted's a total pro and I hope him and I have more opportunities to write together.

· Go On, Go Away
This was one of the first three songs I wrote for this album. I don't remember where the inspiration came from since it was almost 4 years ago. Damn, time flies by!

· We've Got Tonight
This was another one from the early writing sessions. I wrote it for my wife at a time when everyone around us seemed like they were getting rich from stocks, and we basically had nothing. So it's a song about appreciating what you have and not giving a shit about what you don't have.

· Another Girl
The chorus to this song was written back when I recorded "Shine On" but it wasn't finished until the end of the MIC sessions. This happens to be one of my favorite songs off the album.

· Help
This is my favorite Beatles songs, and it's funny because almost all of the reviewers so far have said this song has been done to death. I've not heard it done once by anyone other than the Beatles. No kidding! Anyway, it was a very fun song to record and it's another one of my faves off the new album.

· Love Ain't Enough
Brent De Leo, someone I've worked with for many years, came up with the chorus to this song. This one just sort of wrote itself. I think I finished the lyrics and music to this in a day or so. I think these lyrics are probably the best I've written.

· Something About You
This one has H.I.T. written all over it, if I say so myself. This is another one of those songs that I don't know where the inspiration came from, or how the riff came along. It just happened. Sort of like divine intervention or something.

· Where Are You Now?
Another one of my faves. I just love how this song is arranged. The concept behind it is really cool too. Not saying that spousal abuse is cool, just that it's cool that I didn't write another boring love song. HAHAHAHAHA!

· Welcome to My Paradise
By the time I finished this song, I pretty much thought it was going to be a Jap bonus track or something. It's my least favorite song. It was Mark Ashton's idea to include it on the album. I would've much rather had one of the other two songs that didn't make the album. But I'm sure glad this one was included, because it seems like a favorite to a lot of people.

I have to ask about the inspiration behind Another Girl!! What a classic!
HAHA! Thanks! I'm glad you like it. This song just shows what a sense of humor I have. I didn't want to write a boring story about "boy gets girl, boy gets sick of girl, boy dumps girl, and then finds another girl". I thought that "Boy wants girl, boy can't have girl, because girl prefers tacos over hot dogs" was much more interesting. This wasn't a personal song though. In case you were wondering.

And the inclusion of The Beatles cover. Why that song and why chose that over a J. Lima original?
Plain and simple. I think it's a great song. Some people are going to love my version, and some people are going to hate it. I didn't have anymore original songs to include on this album. I was completely burnt out by the end and the last thing I wanted to do was write another song. Besides, I've always recorded a cover song for my albums. It's just that "Help" was the only cover that actually made it on an album. The other cover songs I've recorded in the past were "Blue Tears" and "I Love Rock 'N Roll". Please don't ask for a copy because they were never completely finished. That's why they never made it on an album.

If there was any justice, “We've Got Tonight” would be all over radio. Is there anything you can do as an American based indie artist to help your chances of this happening?
I agree with you, but I know nothing's going to happen here in the U.S. I'm sure it would help if I put a band together and played in every hell-hole that I can to promote the new album. There's no license deal here in the U.S., there's no distribution.

Ok, moving on! You play most of the instruments yourself - how hard is it to co-ordinate various pieces of the recording puzzle and out them all together into a great sounding package?
The only hard part is keeping myself on track. If I'm on track, then it's pretty easy for me to work that way.

Where did the guests featured on your album come from?
I've known Craig Takeshita for almost 10 years. He's the one that introduced me to my wife. I've always loved his guitar playing. He's one of those virtuoso types, but knows how to play for the song. He doesn't play all that Yngwie "Turkey Gobble" shit that so many guitar players used to play. He could if he wanted to, but he doesn't. Now that's a guitar player. I've known Brent De Leo since the old Cheshire Cat and Attitude days. He was the keyboardist and co-songwriter in those bands. He produced and played keyboards on my debut album. Great guy, and very talented. Too bad he lives in Pennsylvania now. Jason Granucci and I met through a mutual friend of ours. Jason is another great guitar player. Not as clean as Craig, but Jason can write the killer riff. I call him the RIFF MASTER.

Tell us about the cover art? No half naked chicks I see?
Yeah, my idea got thrown in the toilet. Al Barrow did the artwork for it. I really wish we would've started throwing ideas around sooner than we did. The album was already finished and mastered by the time we started working on the concept for the artwork. I think Al did a fantastic job especially under intense pressure to get it done.

When are you and Danny Danzi going to record an album together?
Good question. I'd love to make an album with Danny. He's an awesome guitarist and singer. I think him and I would make a great album together. Who knows, maybe now that our albums are finished we'll have time to work on something. You'll be the first to know Andrew.

You are mid/semi way through re-recording your debut album. Why do that? What is the idea behind that and why not just re-release the original?
The reason I don't want to re-release the original is simple. The original sounds like complete shit. [too funny Johnny…]
The production is horrible. The recording is horrible. My vocals sound like shit. I know so many people like the album as is, but it's my name that has to go on it. I'm a much better singer now, I'm a much better producer now, and I'm a much better songwriter now. It won't cost me a dime to re-record it, so I'm going re-record the whole thing, and make it something I'd be very proud of. After people listen to it, I'm sure they're not going to say they prefer the original. It's not like I'm going to take the old songs and turn them into pop punk or something. It's still going to be Melodic Rock. The only difference is it's going to be recorded better, and there's going to be some edits in the arrangements. Some of the songs are just way too long.

You are very vocal about various issues concerning artists/labels/the music business/the Internet and I thank you for sharing your input via the site's Noticeboard.
As you see it - from your own position - how hard is it surviving in this game circa 2003 and the music business as such?
I think so many people are disillusioned by the music industry. I know I used to be. It's a lot harder that before. So far I'm really impressed with their performance.

And the Internet? Friend or mortal enemy filled with nothing but thieving music pirates?
Definite friend. I'm not going to bitch and complain about people stealing my music over the internet. I'm sure there are more people that discovered my music through the internet and bought the album, than there are people that downloaded it for free and forgot to send me a check. Besides, if you download my album and don't like it enough to buy the real thing, then shame on me for putting out a shitty album.

What else is on your plate mate? What else do you have planned/lined up/in development?
I've been working at the studio recording local artists as well as working on my next album. I've also been working with Amanda Shelby who's being produced by Rene Moore (Janet Jackson, Jennifer Holliday). I might be writing some songs for her as well. I'm also planning on producing and recording a female artist by the name of Briana Hales. So I'm trying to do all this and still spend a lot of quality time with my wife and son.

How's the home studio going?
It's no longer at home. Hasn't been home since the son was born. I merged my studio with Suspect Studios, which was the place I recorded my first two albums at. Dave was looking to upgrade his studio to Pro Tools. Since I had it, and know how to use it like the back of my hand, it was a perfect match. He has a ton of outboard gear and an awesome mic collection. I'd say we're one of the best studios to record at in the South Bay Area right now. Not many studios have the kind of equipment we do. Shit, now I'm starting to sound like a commercial

Let's finish with a few favourites - fav's websites? Fav musicians and current classic albums?
Fave Websites
www.melodicrock.com of course! [just as well….]
www.gearslutz.com
www.metal-sludge.com
www.digidesign.com
www.ebay.com
www.amazon.com

Current Classic Albums
Evanescence - Fallen
Avril Lavigne - Let Go
The Tories - Upside Of Down

Favorite Musicians
Bryan Adams
Mike Tramp
Jon Bon Jovi
Def Leppard
Danny Danzi
Scorpions
Europe
Pete Lesperance & Harry Hess and many more

Anything you would like to add?
No I think we've covered all the bases.

Thanks Johnny, for doing our first interview together!
Thank you Andrew!

Log in to Johnny's world at www.johnnylima.com