| Page 35 | MelodicRock.com

Tue

Feb

Gary Hughes (1998)

Artist:

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Interviews

Gary Hughes has established himself as one of England's premiere singer songwriters. In a few short years he has managed to be involved in some mighty AOR releases including Hugo's solo debut, the monsterous upcoming Bob Catley debut and not to mention 4 albums with his band Ten and now a second solo album. So here's Gary on upcoming events, past records and a sometimes fickle press....

Gary, great to finally talk with you!
I am not going ask what's happening, because you have to be one of the
busiest guys in the business!
Yeah, I guess that's true, but to be honest I like to be busy. I enjoy my work and now I have a schedule where I work like a normal job wherever possible. That is, Monday to Friday and try to be home for the evenings with my
family.
When we recorded "The Robe" it got crazy towards the end and I almost made myself very ill. I find that I can be fresh to the projects if I don't overdo the
amount of work each day and I get to switch off in the evenings and at weekends.

OK, so how do you relax and when do you relax?!!
I do most weekends to spend with my family. That's my main relaxation. I have two wonderful children, one boy (Scott) and a girl (Hayley) with my wife Zoe and the time we spend together just being a family is my favourite relaxation.
I also enjoy watching films and TV, especially sci-fi stuff. Also, I'm really into Egypt and other ancient cultures. I guess that comes through in my lyrics.
Of course, being English, I'm a big football fan. My team is Manchester
United and Zoe is a Manchester City fan. So there have been a few frosty moments there as you can imagine!

So how is the response to your new solo record?

I've been really pleased with the response both from critics and fans. I must admit that I was a little bit worried about the critics as they all love to stick the knife in whenever possible. We had several journalists over to the studio
when we were mixing the album and we were worried about what they would say. I guess because I ended up using Vinny and Greg on the album, I was expecting the criticism that this was just TEN under a different name. But, to be fair, every one of them said how surprised they were as to how different to a TEN album it sounded.
Obviously, there will be some similarities, but I think in the end we managed to make the album a worthy release in it's own right.

The funny thing is, it would be a really stupid criticism anyway. Solo albums on the whole sell much less that the main band of any artist. What would be the point in releasing an album under my name when a TEN album would sell more?
I guess I just have so many songs and I want as many as possible to be
heard by people.
I have a few different styles to my writing and that allows me to do different
projects.

Tell me what your plans were for this album, style wise?
I ask that because you have noticeably taken a step back from the big
epic sound that Ten has come to be known for.
That was intentional. With TEN I feel we have now developed a style which
is quite unique and recognisable as the TEN sound. As such, I had a lot of material which I didn't really think would fit into this style but I felt was very strong material. As I used to be a solo artist prior to TEN I had always wanted to keep my solo career going and this was a way to do just that.
We don't want to change things too much with TEN as we feel that what we do is genuine and really giving the fans what they want. With my solo material I can be more laid back and romantic I guess.
As Vinny would probably say, with TEN we are giving the kids what they want so I guess with my solo records I'm giving the older brigade what they want. Ha, Ha.

This album has a more laid back approach...Did you purposely change your vocal approach for this album, as there are a few really nice variations?
Yes, as it's a solo album and I'm a singer I guess I concentrated on making all the songs very strong from a vocal point of view. With the band sometimes we can make other instruments the focal point of the song. With this material I had to make sure it all featured very strong vocals in one aspect or another.
Thanks for your words. I appreciate it when someone takes the time to listen closely to what is going on. I think sometimes people mistake screaming for singing. I'm very influenced by people like John Waite and early David Coverdale.
There's so much fantastic phrasing and emotion in their voices, I guess that's what I'm trying to capture elements of in my solo work.

I really like the couple of big ballads. You seem to be able to pull those off with ease!
I'm just a big old romantic you know! No, truthfully, I have absolutely loads of ballads. I seem to write 3 to every rocker. At one time we contemplated making a complete album full of ballads and going for the more adult market, but TEN took over. I'm glad it did really as it has afforded me the opportunity to do so much more.

And the other really nice laid back track, Precious Ones, tell me about that one.
I'm so glad you like that track. It's very special to me. I wrote it initially about my family.
They are the precious ones which I sing about it in the song. But, as the song developed I felt it also took on another meaning. I now think that it could apply to our fans as well. They are also the precious ones. I hope this doesn't sound too corny, but we are so grateful to all our fans around the world. Of course, in Japan it's amazing. We are treated like THE BEATLES or something.
But we get letters from all over the world and that's incredibly pleasing.
We have started to get a lot of mail and chat on the internet coming from the U.S. The people over there who have heard TEN really seem to `get it`. They can see that we aren't just another Brit AOR band trying to be American.
We are staunchly British and proud of it. When we started the first album we made a point of keeping everything British.
The musicians, the location of recording, the co-producer.
We wanted to make British music which seems to have been forgotten by many bands these days.
We grew up listening to DEEP PURPLE, THIN LIZZY, UFO, RAINBOW etc and that's what we want to be-the 90`s equivalent.
I guess, to go back to your question, we feel a very close relationship with our fans and appreciate them very much. "Precious Ones" seems to sum that emotion up.

Don't Ever Say Goodbye sounds like it could have been a Ten track, not
to mention the use of that fraise on the Live record - was that a Ten outtake?
Not guilty, your honour!
No, it's a total coincidence. I already had the song written when we chose that as the title for the live album. I was recording the solo album in between other things, so it actually goes back a long way. It was Bruce Mee, of NOW & THEN, who came up with the title for the live album.
He pointed out that it was the last thing I said to the crowd each night and seemed a poignant statement.
Again, it sums up our feelings to the fans. We never want to say goodbye when we meet them-especially when they are buying the drinks!

Any other proposed Ten songs that were used, or was it all solo material?
I`ll let you into a little secret here. TEN was originally just me making a solo album to follow up the self titled release on NOW & THEN. I had the bones of around 30 songs recorded and then we brought Vinny in to play guitar on the album as a session. When we heard him and he heard the songs it was like magic.
He didn't want anyone else to play his solos live and we couldn't think of anyone who could do anyway. It was obvious that this had to be a band. At that stage we had chosen the rockier songs and had what became the first two TEN albums done.
There are a few from that time, which are now on my solo album. The most well known is "The Night The Love Died". That's a very special song again and Mark Ashton, of NOW & THEN, wanted it to be saved until I was a lot more well known than I was back then.
He really believed in that song and wanted as many people as possible to hear it. There are a couple of others which we used on the EP in Japan, "The Miracle Is You" and "Be My Fantasy Tonight" which are from those sessions as well. They are two great songs. The only reason they aren't on the solo album is because they are ballads and we already had enough for the album.
I could have saved them for the next solo album, but I know I`ll have some more killers by then.

You have worked on a couple of other albums with Mark Aston and Now And Then....How did you get involved in the Hugo project?
Killer AOR record, I don't think that I heard anything but great reviews for it.
Well, that was a great album to be involved in. I had told Mark that I wanted to get into production work and if he could put anything my way I`d be grateful.
He was in touch with HUGO, who wanted to make his album away from the distractions of the U.S. music scene. I think he was a bit worried that no-one wanted AOR any more as all he heard on the radio was modern crap.
So, he wanted Mark to be close to the recording of the album and asked about recording it in England. Of course, Mark jumped at this opportunity and suggested doing it in Manchester, with myself, Vinny, Greg and Ged playing the instruments. We did get a bit of criticism that it was NOW & THEN cashing in on the success of TEN, but anyone who has a brain can work out that the album was actually recorded around the GODS appearance that HUGO made in `96.
The first TEN album came out in April `96 at which time HUGO was in the studio with us. How can anyone be cashing in when we didn't know how the TEN album would sell? We were flattered that NOW & THEN chose us to play on and
produce such a great album by a great singer.
I was chosen to produce the album and along with Mark I made the decisions as to who the musicians would be for the album. We needed a guitarist in the Neal Schon/Steve Lukather/Michael Schenker style. Why search the world when we have the best already here in Manchester? It was just a great record to be involved in.

And you may appear briefly on the second one?
I don't think I will be involved personally as HUGO is having to record in the U.S. this time because of work restraints. I think there's a plan to get THE VIPER (Vinny) to play on the album though. As I said earlier he just wants to give the kids what they want!

How about this new Bob Catley record? That must have been quite a challenge, writing the material with a specific aim in mind.

It has been just about the greatest experience of my musical life. I have, been a huge fan of Bob for years through his MAGNUM days. Mark still finds it funny that when we were making the first TEN album, I went to see MAGNUM in a small local venue and spent the next few days talking about nothing else.
To then have the opportunity to work with this guy was fantastic.
The actual challenge of writing for Bob's vocals was really interesting. I actually had one song, "Far Away" which I was considering for my solo album. When Mark and Bruce heard it they freaked out. They couldn't believe it, going on about how MAGNUM it sounded. At that time they contacted Bob about doing a solo album and told him that they had me in mind to write and produce the album. After hearing the TEN albums he agreed to do it.

It's so funny. He's become a huge fan of TEN. He loves "The Rainbow", that's his favourite.
Once he had agreed to do the album I held "Far Away" back and wrote more in that style for him. The directive that I was given was to write the album that MAGNUM could have made between "Storyteller's" and "Wings Of Heaven" if I was in the band and Vinny was playing guitar.

You have always till now sung the material you wrote. What was it like writing the songs but for another singer?
It's something that I have always dreamed of. Having someone else sing your material is a really strange thing. Sometimes they change elements of the song which takes it away from what was originally intended. I think you have to learn to be a little less precious about things. When it someone as great as Bob Catley though, the changes he makes usually improve the songs and give them his particular character.

Mark said it was amazing watching you two create in the studio!
I guess it would be for him as he's such a fan anyway. It was funny at first because I didn't really know Bob before we started and he's a hero to me, so I found it hard to push him in the studio. By the end though I realised that's what he liked, so I was giving him a lot of stick to bring out the best in him.

Some of the tunes sound like they could have been for a Ten record, but most of them have a very Magnum feel. What did you listen to to get your head into that form of writing?
I think that only two songs, "Scream" and "The Tower" could really have been used by TEN at this stage. But they both have MAGNUM elements to them as well. We didn't want to just make a MAGNUM album as that's pointless for Bob. We wanted to explore some new ideas vocally and musically for him. A song like "The Tower" rocks harder than anything he's ever done before, yet "Deep Winter" is almost completely acoustic and has a Richie Sambora/Jon Bon Jovi feel to it.
I must admit though, I dug out all my classic old MAGNUM records and they inspired me to write in this style for Bob. Tony Clarkin is such a great writer.
I think he`s one of the most underrated writers around. Songs like "Les Morts Dansant" and "How Far Jerusalem" are simply stunning pieces of songwriting.

And any favourite tunes from the set that is being used?
It's hard to say. They're all my babies and special in some way. I really like "Far Away" as that was the first. "Scream" is a great classy song and Bob does it really well. "Madrigal" is very special as it's such a big production job, with tons of stuff going on all the time. Vinny`s guitar work on that track is killer. To stay acoustic when everyone expects a big electric solo was so cool. Bob's favourite is "Fear Of The Dark", which I love as well. He kept going on about it being at the end of the album as he loves it so much. He wanted it to be the opener, but both Mark and myself knew it had to be the album closer as it's such an epic.

I personally love Dreams, Scream, Deep Winter and Far Away the best.
Any songs that were written that will appear on the Ten record?
Well, it's funny you should ask that. Maybe at some point I will have ago
at some of the tracks. I'm not sure if it would be for a TEN record or a solo
album, but I'd love to sing those songs, for sure. Let's just say that it isn't impossible for that to happen and looks more likely than not.

Do you think there is any chance of some live dates with Bob?
Definitely. Bob is in this for the long run. The deal he signed with NOW & THEN was for several albums, not just a one-off. They aren't interested in that kind of thing. They want to develop artists and work with them over a period of time. Once Bob got to hear these songs he was already talking about some shows.
I`d love to see it happen because then I could be in the crowd for a change and enjoying it. I think he will play THE GODS in November and maybe do a few more shows in Europe.

Have you ever written a tune for Bob and though 'No I will save this for Ten - it's TOO good', or written a tune with Ten in mind and thought 'I will keep this for my solo album'?
I asked this because I think there is a similar pattern to all your work, yet enough diversity to be able to break it into different blocks (Ten, Solo, Bob ect.) Do you agree?
I think that there is some similarity throughout my work, but that applies to most songwriters. You can recognise certain traits in all songwriters who actually write a lot of songs. I'm a big HAREM SCAREM fan, but listen to the FIORE album and tell me it isn't obviously them? That's great though as I love their style.
I think I have a few twists in my writing now though and that helps me decide where a song will go. I think I can feel when a song will be a TEN song, a solo song or a Bob song. I already have half an album written for my next solo album and about the same for Bob. It's becoming more and more clear who each song will suit.
I have a lot of other songs which aren't suitable for TEN, GARY HUGHES or BOB CATLEY and I`d love to get the chance to work with other people as well. I have a ton of material that would be perfect for a female artist, like VIXEN style, so if you can suggest anyone I`d be up for it!

I want to talk about the four Ten albums so far. Quite a body of work in
5 years!
Yes, but it's only because bands like DEF LEPPARD take forever making
their albums that our output seems a lot. If you look back to THE BEATLES, they were releasing two albums a year and no-one criticised them. The best music KISS ever released was in their early years and they were putting out two albums a year. The longer they take over an album, the worse it is.
With the scene for melodic rock being limited these days as well, there isn't the need or possibility for huge world tours. So, we are around at home a lot more than the likes of DEF LEPPARD etc. That makes it easier for us to spend time in the studio. If we didn't we'd only end up causing trouble on street corners. Idle hands, you know!
Look at Jack Blades (another top geezer!). He's on every record being released at the moment from NIGHTRANGER to RINGO STARR to JOURNEY.
Why not? Good luck to him I say. I guess it's only a matter of time before we make an album together as there won't be anyone else left to work with if we both carry on at this rate.
Hmmm, now that's not such a bad idea is it?
We are on the same label in Japan you know.

And what of the critisisms that the albums have sounded too familiar?
I am guilty of making the comparisons, although I do think they each have their own feel.
I can understand the comment, but can't see why it's a criticism. I think we have all become a bit used to bands making one album and then splitting up.
There aren't many bands making three or four albums these days. When a band makes several albums they must surely have familiar elements to their sound. Otherwise, that band has no identity and is simply probably following trends.
Listen to SURVIVOR, FOREIGNER, THIN LIZZY, UFO etc. They had a `sound` to their music which was all through their career. They had variety of course, but I think we have that as well.
No-one can tell me that "Eyes Of A Child" is anything like "Wait For You" or
"Someday" or "After The Love Has Gone" or "Arcadia". I think there's sound which can be called `TEN` but there's lot of variation on our records. Sometimes we don't get the credit we deserve for trying different things.
On our debut we ended the album with an 11-minute ballad which was half taken up with a guitar solo.
Who else has the balls to do that? We then open our very important follow up album with a 90 second intro and a song which is way heavier than anything on our debut. "The Name Of The Rose" was very different and brave, yet critics didn't give us any credit-funnily enough though it was voted BEST SONG OF `96 by the readers of the worlds biggest rock magazine, BURRN!
On "The Robe" there was criticism that the album was just the same as "The Name Of the Rose", but I don't hear anything like "Arcadia" anywhere
else on our albums, or "Someday" or the horns on the end of "You're In My Heart" or even the choir on "The Robe" itself.
It's funny though, in the UK where we get the most flak, naturally (It's a British thing to knock success) one writer was talking about "The Robe" and saying "Has the backlash started" as if to put thoughts into people's minds. This was just before THE GODS last year. We turn up and play the show, everyone goes wild and we sold 85 T-shirts in one day. That doesn't seem like a backlash to me. It seems to be primarily the journalists who have it in for us. I just wish people
would give us the same critical listening that they give to other acts. That's all we can ask for. Yet, sometimes it feels like we get grief for something that someone else gets praised for.
I don't want to be down on people though. Everyone's entitled to their own opinion and we know that everyone can't like our music. I just think it's unfair on the people who might actually like us but are being put off by unfair press.

Mark once said to me - Status Quo would be killed if they varied their pattern of song writing. Do you think that it is almost a no win situation?
Definitely. Look at HAREM SCAREM. They change on every album and it seems like it's the fans who have the "Mood Swings"(Pun intended). They love "Mood Swings", they hate "Voice of Reason". Why? Because it doesn't sound like "Mood Swings". Then all is forgiven on "Believe" because it has elements of "Mood Swings" in it. The new album, "Big Bang Theory" is getting a lot of bad press again, because they have changed their sound. So, everyone wants HAREM SCAREM to sound like "Mood Swings" every time they make a record, but Ten should change every time they make a record. You're right-you can't win!
we just have to do what we believe in, which is exactly what I'm sure the guys in HAREM SCAREM do and I wish them all the success in the world. Hey, they do a lot of outside work as well. Hmmm, Jack Blades on Bass, Pete Lesperance and The Viper on guitar, Harry Hess and me on
vocals. I can see it now. We'd get slated by all the press!!! Ha, Ha.

And is that why you record solo albums? Does that give you the chance to vary the approach or try something different?
Exactly. I think that now my solo album is out it has maybe shown people that TEN has to be the way it is. If TEN makes a mellower record then what it the point in me doing a solo record. It would have to be heavy and epic in order to be different. All that would have happened then is that we would be swapping the names on the front of our albums. TEN is about epic, grandiose themes. Classic Rock for the 90`s is what we are about. My solo career is about more intimate lyrical themes. It's as much about the lyrics as the music for me. Again, I don't
want to go on about it, but I think TEN has some pretty good lyrical ideas, which we never get credit for from the press.
Our fans are always writing to us and asking us about the lyrics. Songs like "The Name Of the Rose", "Goodnight Saigon", "Eyes Of A Child", "The Rainbow", "Arcadia", "Wait For You" and "The Robe" really have deep meaning. They aren't just AOR love songs. On my solo albums I can be more personal and write from
that perspective, but with TEN I write about bigger themes.
Oh God, now I sound pompous. Well, the fans will understand what I mean.
I'm really glad you've given me this chance to express our side of things actually. It's usually just the critics who get to voice their opinions and the artist rarely gets a chance to put their side. I hope I've made it easier for people to understand what TEN is about and what we are trying to achieve. It's great to see people like yourself running such a great site and the people who surf in giving you such support.
It makes you have faith that there could be a comeback for rock music, which is surely what we are all trying to achieve anyway, isn't it?

Tags:

1998

Tue

Feb

Mark Mangold (1998)

Artist:

Mark Mangold

Categories:

Interviews

Mark Mangold seems to have a magic AOR touch. Excuse the pun! He has been involved in two cult AOR acts and is currently launching a solo career and what could also become a classic AOR release - Mystic Healer - unreleased works from his prime AOR days. So here is the man behind Touch and Drive She Said.

Hi Mark, great to 'speak' with you.
You seem to be at the start of a resurgence in your career! You have got a
few things coming up, but first what have you been doing since the last
Drive She Said record?
The Best Of D,SS, if that is what you mean by the last D,SS record, is out now in Europe and Japan. We worked on 5 new tracks for it as well as compiling the various tracks, etc. I've completed a solo record which is out now and am presently working on getting that out there, performances, interviews, etc.
as well as just completing the second video for the song "42nd Street".

Certain AOR acts tend to take on a cult status, but you have been fortunate enough to be in two different acts that have achieved that tag - Touch and Drive She Said.
Well, thanks so much for saying so.

What is it that has made these two bands reach that point?
It's certainly got to be the music. We never set out to do anything like that, only to make the best music we could, the music we really love, as best as possible. I think the attention to detail, and trying to keep every moment as good as it could be, is part of it.

How do you compare the two bands?
It's hard, really. Though I do see common threads in that both have very strong singers and harmonies and much attention is paid to melody, and good playing.

And comparing them again, what events has brought them to both have first
time on CD re-issues at the same time?
Well, I met some people (Steve Harrell and Toshi Aramaki at Avex in Japan and Mario Riso and Serafino Perugino at Frontier in Italy) who believed in the music and were wonderful enough to release the records.

So first up - the Drive She Said compilation - great looking package!
I said in the review that I never gave D,SS a lot of credit, but now listening back to the songs on the best of, they sound great! I think I may have missed the point previously.
Thanks.

How about the unreleased tracks - what archives did they come from?
Well, Road to Paradise, Fallin' Again and Suddenly Closer are brand new. Look At What You Got and Water From A Stone are older songs. "Look" was written with Michael Bolton for the Everybody's Crazy record and ended up on the B-Side of a single. Water From A Stone was written early 90's with Cher in mind, after she had recorded I Found Someone. She never did the song, though I always thought she would have done a great job with it. It seems to be a number of people's favorite song on the Best Of CD, and it's straight ahead AOR.

Are there any other old songs unreleased?
No, not really for D,SS, though we could create some real quick if asked.

And how about re-issuing the original albums again?
I think that may be happening if the 'Best Of' warrants it, as well as the possibility of another D,SS record next year. WE'LL SEE????

To the Touch re-issue - again some bonus tracks. Any more there also?
No, the record is called "The Complete Works" and it is truly everything we ever did, including some "demos" that showed where we were going, even "I Found Someone" which Cher eventually recorded.

And who push to get this re-issue done?
Again, it's the guys at Avex and Frontier, bless their hearts.

Has there been much demand for both your bands to have theses re-issues done?
Yes, there seems to be a "cult" demand for Touch. D,SS was more something that I pushed for because I always saw us having a 4th CD and wanted to place all the "singles" (or "should have been" singles) on one record.

Any favorite tracks that still do it for you?!
Revisiting all this music was fun. The entire body brings back a lot of
memories, and with Touch I still love the playing and that we were trying to do interesting-player oriented music, the rich harmonies and especially live oriented songs like Is It Really Me, My Life Depends on You, and that self-indulgent weird stuff.

You recently issued a solo record in the States. Can you tell us a little about that?
Well, it's piano oriented, very different from the "rock" direction. More coming from an inside, spiritual place with many world influences, as well as Native American and New Age influences.

How has the response and sales been for it so far?
It has been going very well. We are trying to spread the message that this world can be a better place, and our lives can be whatever we want them to be,
if we realize we have the power to create it--it is a Mirror Image of ourselves.

One could be excused for thinking Drive She Said were English, given that all your sales and publicity was generated by the English and your record label for many years was Music For Nations!
Was it frustrating to not be able to get a big hit in America?
A bit, with D,SS, though Touch did do OK here.

And on top of the solo record you have a new band project in the works,
Mystic Healer...
Can you tell me a little about that?
Mystic Healer was the idea of Magnus at MTM who asked me if I had songs from "those days" when I was working with Michael Bolton on Everybody's Crazy and
that style of music. Yes there is LOADS of stuff. So we picked a number of them. I had the good fortune of meeting Todd Googins, a great singer, and we put it all together.
Many of the tracks are years old, recorded with major players from Bruce and Bob Kulick, Tony Bruno, Al Fritsch, Chuck Burgee, Chuck Bonfante, Aldo Nova, Etc. and we just did vocals, tweaked guitars and drums, etc. And it sounds great. We are just about done and it should be out within a few months.

Who is in the band?
Me and Todd.

And the style of the record? Big AOR?
BIG AOR!

And Europe is still leading the way with melodic rock aren't they?
Yes.

Any other projects in the works?
Possibly a record with Fiona, for Now and Then, and my second solo record.

Any chance of new material being recorded by either D,SS or Touch?
D,SS yes, Probably not for Touch because the band members are not doing music any more except for Doug, Hi Doug.

And what is the future for both Mystic Healer, Mark Mangold?
On wards and upwards!!!!!!!!!!!!!!!!!!!!!!!!!!

Thanks!

Tags:

1998

Tue

Feb

Stream - Peter Scheithauer (1998)

Artist:

Peter Scheithauer

Categories:

Interviews

An Interview with Steam founder and guitarist Peter Scheithauer.

So how long was this project in development?
Stream is my solo project. It exists for the last 10 years but for this CD it happens by the end of 1996.

Who wrote the songs?
I wrote the main riffs except Camouflage. And after Bob helped me to arrange and added some parts like lead breaks, end of songs. David did all
the lyrics/melodies. Camouflage was two different riff that Eric had on a
tape we made a song out of it and added different parts. The instrumental
is totally different I wrote 100% of it, it's an old session that the label liked.

What did you have in mind to achieve in the beginning?
Right from the beginning Stream is my project and my goal is to play with people that I admire. Plus I wanted to find a way to have different influences on one CD kind of the 70's meets the 80's meets the 90's. All the musicians I played in Stream with I own their CD's saw them live when I was a teenager. I'm very fortunate to have the possiblity to play with those guys.

How did the other guys get involved? Have you known them for long?
I knew Eric through Dave Spitz and when it was time for me to record Stream I called Eric if he would have time to play on this record.The timing was perfect and he asked me who might play on bass.Than he asked me if I would be interested to play with Bob Daisley. I saw Bob with Gary Moore, Ozzy and had Ozzy, Rainbow and Uriah heep CD's so you could imagine what would be my answer. At the end we needed a singer and I asked Bob if he kew David as well as I asked Chuck Wright than I called David, we tried two songs and everything was ready to rock.

How about Eric Singer's involvement?
Eric is a guest on my record I always wanted to make a record with him because I think he's one of the best hard rock drummer ever. We are good friends and i'm thanksfull that he played on my record.

The album is incedibly heavy! Was that the sound that you were after? Heavy and modern, yet it retains plenty of melodies.
I was looking to get a mixed of the heavyness of the 90's with the 80's melodies and the creativity of the 70's. I think I did a big step to this direction or at least I hope.

What other albums have you worked on, if any?
I did two other Stream before. More melodic. Plus an album with a band
(which was more hard rock / blues oriented ) called Lazylly.
One of the Stream was a band with Bodo Schopf (MSG).The other was with a
lot of guests.

And are there any plans for Stream to play some live dates?
I don't think I'm gonna tour with this Stream but who knows? It will depend on the sales hopefully you'll see Stream on tour. With the next one most definitely a tour will be pending.

How about plans for a US release?
Yes it will be release in the US by Saraya recording in a few days as
well as the second Stream with David Reece, Dave Spitz, Stet Howland, Jay Schellen.

Any favourite tunes from the album. I still like the first track best...
I love Snake Eyed Moon, Chasin' The Dragon and Bed of Fire.

What are you listening to right now? And what influences you?
A lot of old bands like Kiss, Angel, Judas Priest....
But right now I'm more into heavy stuff like Pantera, the new Slayer, the
new Priest...
I listen to a lot of music from Pantera to Foreigner.

And what musical challenge is next for yourself?
Well I have a band with Joey Belladonna (Anthrax). I already wrote all the music and we are actually in the studio.
It's a lot of heavy riffs a la Megadeth, Metallica, Priest with melodic vocals.
On drums you'll find Stet Howland (WASP) who's (to me) the Keith Moon of the 90's. It's a real band we 'll be on tour.We kept
the name Belladonna but fortunately it has nothing to do with the old band and music.It's very fresh and I can't wait for people to hear it. It will be release by the end of October follow by a tour.

Any chance of another Sream record or was this a one off project?
A new Stream?
Sure by the beginning of next year you should be able to hear it. It's gonna be more melodic with a strong 80's vibe. It's gonna be a different line up but may be not 100% different. Wait and see......

And will the line up stay the same or is that undetermined until the time it happens?
The second Stream will be with David Reece, Dave Spitz, Stet Howland, Jay Schellen......

Tags:

1998

Stream

Tue

Feb

Harlan Cage - Larry Greene (1998)

Artist:

Larry Greene

Categories:

Interviews

Thanks for your time Larry.

Thanks for your interest and support. I enjoyed touring around your web site last week. It's nice to see people responding to the kind of music we like.

The new record Double Medication Tuesday is a proper band project. You must be happy with the result?
We're very pleased with the way the album turned out. There are always things you wishes you could have done differently, but that's usually the case. We felt the best way to paint the songs with a live feel, was to use a full band. It's also a hell of a lot more fun

The whole album seems like a step up - better songs, better production, better singing even!
Well thanks. We're glad you like it. The first album was more of a collection of songs, as opposed to a wire to wire project like this one. I think there's more continuity this time around.

Is this the way you intend Harlan cage to remain, with this line up?
This is a great band to work with. Both drummer Michael Lawrence and bassist Jamie Carter had been working together for several years in a band called Sun 60. They're quick to learn and fun to jam with. Billy Leisegang is the piece of the puzzle we were always missing until now.
So to answer your question, yes, this is the line up we want to stay with.

Are you going to tour anywhere with this album?
There's been talk of Europe and Japan sometime this summer. We'll be doing a few shows around the Los Angeles and San Francisco area in the next couple of months as well. It really depends on how the new CD does.

I am impressed with the quality of the songs on DMT. How did you go about writing for the album?
Roger usually gives me a musical idea and I'll come up with the lyrics and hook. Then we'll get together and ether finish it or trash it. Pretty simple really.

The debut album a few years back was mainly the two of you wasn't it?
Yeah, we originally didn't want to do a band deal. Too many problems.
But that has changed withthey guys we have now.

Even with the debut record you had a great sound!
We had top session guys on that first album. I still work with some of them on other projects.

How does Harlan Cage compare with being in Fortune? How did the whole project get put together?
Fortune became just 'too much music to play', if you know what I mean. Too many lawyers, accountants, A&R guys, all with too much time on their hands.
It's a scary thought! Harlan cage is easy.
Magnus Soderkvist got a hold of me through a publicist and asked if I'd like to do another album on a label he was getting started. Since Roger and I had been playing our songs around town in a band called Big City, we decided to so it. Not much to loose, eh?

On the first record you covered 99 In The Shade, and now you have covered Dearborn Station. Why re-record the older songs?
We had a lot of songs to choose from. We did '98 In The Shade' and 'Dearborn Station' at the request of the guys in Sweden and Japan.
Basically we're just a band and they caught us on request night!

There were a couple of impressive names collaborating on the debut - Tom Whitlock, Steve Porcaro, Billy Liesegang and Aussie Brett Garsed.
Is there any stories you could tell from working with these guys?
Tom Whitlock and I go way back. We worked together on 'Top Gun' and 'Over The Top'. I love the song 'Kiss Of Fools' we did on the first album.
That's the first song I heard of his without Georgio Moroder involved.
He and Terry Wilson wrote it and when he offered it to me, I recorded it that week.
Steve Porcaro's like a brother to me. I'm close to the whole family. He's pretty much involved in film and television now, so it's tough to work together on a steady basis.
Not much more to say about Billy, he's a great guy, great player. He's good on taking abuse too. I mean, he has worked with Nina Hagen for years, what's that tell you?!
As for Brett Garsed, I met him through my brother who owns a studio. We only worked on one song together, but he's a fine player and has a real diverse style.

DMT has been out a couple of months now, are you happy with the response?
I hear it's doing good. I hadn't realized it's been out for two months. It seems like we just finishes it. Imagine that!

Can you tell me something about some of the songs?
Blow Wind Blow - I think this song is a killer. You never overuse the chorus.
Yeah, it is one of my favourite songs. It's basically about giving up trying to control your life and letting the wind blow where it may.

My Mama Said - A particularly strong vocal performance I thought.
That songs was originally titled 'Sunday Clown'. It's pretty easy to figure out. Love brings everyone to their knees at least once.

Defend This Heart Of Mine - Another strong track.
I wrote that in San Francisco. A guy on the street asked me for change, and being in a pissy mood, I told him I was one check away from where he was and might need it back. He refused to take anything. He defended his heart at the expense of his stomach, or most likely, his habit. Anyway, it stuck with me.

Halfway Home?
It's about unfinished business. It's a pleading kind of song. Probably Roger's best keyboard performance on the album. He really created the mood.

You have a fairly unique sound. Does that come from anywhere special?
Roger comes from classical training, as a kid in Ireland. I come from a blues background in Chicago. I guess if you mix the church and the gutter it's bound to sound unique, if nothing else.

Do you favor how is used to be, or where you are at these days? What are the differences?
Of course when melodic rock was the mainstream, the money was better. Now it's easy to see who does it for the love of music. So in a way I suppose things are better now. They have to be. What's the alternative?

Absolutely true. So where to from here for Harlan Cage?
We'll continue to write and perform with the band. Hopefully we'll be doing shows in Europe and Japan, if all goes according to plan. We're having a lot of fun with this , s we want to keep it going.

Any other projects you are working on?
I'm working on a film called 'Glass Cage' with Eric Roberts. Roger's producing a fine R&B singer called Gigi, and we're both hoping everyone will buy the new Harlan Cage CD.

I am sure they will Larry. Thanks for taking the time out to talk.
Say hello to all our friends in Aussie land, and thanks again.

Tags:

1998

Harlan Cage

Tue

Feb

Paul Gilbert (1998)

Artist:

Paul Gilbert

Categories:

Interviews

First off, all the guys in Mr. Big have found side projects or are making solo records - where does that leave the future of Mr. Big?

Mr. Big is currently on hiatus. The future is unknown at this time.

I will come back to Mr. Big, but first to your solo record - Congratulations on a fine album!
In the lead up or approach to this album, what were you looking to do?
In my approach to my first solo album, I wanted to introduce myself as a
singer/songwriter and still keep interesting and heavy guitar
throughout.

How long were you writing for the record?
The songs were written mostly a few months before I began recording, but
there are some old favorites of mine too.

How long did it take to record?
The album was recorded in 3 months.

I see you enlisted the help of Bruce Bouillet. Are you two buddies?
Bruce Bouillet is a very good friend of mine! We worked very hard
together while recording and still had lots of fun.

So how do you like the outcome?
I am very happy with both the recording experience and the finished product.

I know of your love of the Beatles, and there is certainly influences of them the record, but I thought the record may have been a more acoustic feel.
I was actually pleasantly surprised at how rocking the album was!
I am very influenced by the Beatles and much of the music from the 60's
and 70's.
I am glad that you liked my direction on the record. Most of
the time I prefer to rock!

Your vocals are sounding great. Were you nervous to sing, and be featured on the whole album?
I felt good about singing because I made sure to write songs that fit my
voice. Plus, I have been practicing a lot!

Tell me about some of your favourite tracks on the album. I love the first 4 especially.
I like the first songs on the album too. I like "Champagne" because it
is up tempo and has lots of different drum beats. Plus, the electric 12
string is always fun to play. I like "Vinyl" because it has lots of
tom-toms. I also like the lyrics and the vocal harmonies.
"Girls Who Can Read Your Mind" was written a few years ago, and after doing several demo's, I finally found the right key and arrangement for the album.
"I'm Just in Love" is the only track with me playing drums. Plus, it has
big heavy guitars and a surprise flamenco solo!
I think my other favorite is "Streetlights". It sounds live to me even though the parts were over dubbed.

And I hear there is going to be a US release of the album shortly.
Yeah, "King of Clubs" should be released in the U.S. on April 21.

So how have you enjoyed the ride with Mr Big?
Mr. Big was incredible! I was able to tour all over the world and make
some records that I am really happy with. Everybody in the band is an
incredible musician!

Japan has been the first release point for most Mr Big albums, and your solo record - how have you found the Japanese and their dedication to hard rock and to Mr Big?
I feel very lucky to have people listen to my music ANYWHERE! I'm not
sure why, but there are a lot of people in Japan who like my music. This
is fantastic for me because I love Japanese food and Japanese people. It
is a long way to travel and I wish I could do more touring in the
States, Europe, Brazil and anywhere they will let me in!

I have to ask this! Do you have any control over the amount of live albums released in Japan, or is that purely a label decision?
We do have a lot of live albums! We usually put a live album out while
we are touring since we don't have time in the studio. Plus, Mr. Big is
best live!

The song 'Unnatural' is written and sung by yourself, can you tell me a little about the lyrics? The first verse seemed to be applicable to the last question.
"Unnatural" doesn't have a specific lyrical theme, but it is
occasionally about me wishing that I had a voice like Aretha Franklin!

Okay, on the lighter side, have you been talking to the guys lately? What are they up to?
I played a few solo's on Pat Torpey's upcoming solo album. He flew out
to my studio in Las Vegas to produce me. We had fun and it was good to
see him. I haven't seen the other guys lately, but I live in Las Vegas
and they live in California.

Do you have a favourite Mr. Big gig?
Some of the most memorable Mr. Big gigs were the benefit for the Kobe
earthquake victims, our show for 100,000 people in Brazil, and the time
that I got the drill caught in my hair in Atlanta!

Yeah! Ha ha. And a favourite Mr. Big song?
My favorite Mr. Big song is probably "Green Tinted 60's Mind".

So where to from here Paul?
I am currently preparing for my solo concert tour. I have a show in West
Hollywood at the Troubadour on March 4, and then a week of shows in
Japan. After that, I hope to go to Europe...probably in May. Also, I
hope to record my second solo album this year!

Damn! No rest for the wicked! Thanks Paul for taking the time out to answer some questions.
Thank you again for listening to my music and I hope I answered your
questions!

You bet! See ya.

Tags:

1998

Tue

Feb

Jack Ponti (1997)

Artist:

Jack Ponti

Categories:

Interviews

November 1997

Hey Jack!
Are you happy with the end result of Baton Rouge?
Yeah I'm happy. It's Cool.

I think it's better than the other two by a long shot!
Thanks you, I appreciate that.

You seem to have a bigger sound on this album.
Well, it was a little bit different approach.

So how did you approach it?
I actually think we tried to make it a bit earthier. And it was pretty much Kelly and I were left to do what we wanted to do. We kind of had fun with it, rather than being microscopic.

It sounds rawer.
Yeah, definitely that kind of vibe.

And there was no major label distractions?
Yeah it was pretty much doing what we wanted to do, rather than doing what we were told to do.
You have more fun that way.

You have a huge guitar sound on this record.
It was probably because of the studio really. More than anything else. Pretty much the same amps and the same guitars used on 'Baton Rouge', 'Shake Your Soul' and 'Lights Out In The Playground'.
I think the difference in the sound is probably the studio this time around, as much as anything else.
There were less overdubs, so naturally you want to make them bigger.

And Kelly is singing like a demon!
Yeah, Kelly just came in and did it. I had finished the whole thing and Iet Kelly come in and blow over it.

So you pretty much did the one man band thing on it.
To a degree. There were a lot of us doing whatever we do but, doing it without the angle of having somebody busting my balls about mixes and overdubs.

Right! Favourite songs on the record?
Probably Shelter, more than likely.

It's a very moody album.
Yeah, shelter is definitely cool, it's different. It had a different vibe.

I like Shelter, I also like victim of the night, didn't I is my favourite.
Yeah, Didn't I is an old thing I did with Stan Bush a while back.

I noticed a couple of credits to Stan Bush on the album. Were they done a while back?
Yeah, a lot of that was Magnus looking through different songs that we liked, saying why don't you cut these. And it's like okay – cool!

How did you get teemed up with Magnus?
From BMG Sweden, I have done a lot of stuff out there.
Initially they were like – would you make another record? And I am like gee, I don't know, but one thing led to another. Initially I was going to have someone else sing it, and then I was speaking to Kelly, and he said well fuck, I want to do it!
So whenever it's me a Kelly in the same room, its Baton Rouge really.

Is there any chance of this album being released outside Europe? Like the US?
Well yeah, little by little.
If we hadn't been so busy right now, we would have figured out the rest of the territories.

Well people want it, especially in the US.
Well there seems to be this thing going on in the States, between CMC and now Sony signing a shit load of bands. You know they just signed Ratt.

I had heard that.
Yeah, Kalodners' put together this new label Legacy, and is just signing that kind of thing. Which is kinda cool.
If anyone is contacting you on the website, and happen to be female and good looking, you can give them my e-mail address!

Ha ha. Sorry I am not getting photos with my mail!!
Oh, I request photos! And if they are good looking you can let them e-mail me!

Fair enough!! Ha ha

I had done some John Farnham stuff on his last record.

Yeah.
I wrote Little piece Of My Soul.

Good song.
Yeah, between you and me and the wall, I have heard better versions.

It was a little MOR, that album.
I just thought the production was particularly good on the record.
John's a great singer.

Yeah, he is an awesome singer, and he needs someone to come along and play guitars for him.
He needs someone to kick his ass a little. The record sounded too laid back.

Yeah, but that's what the label want of him down here. Songs for the middle aged ect.
The Michael Bolton thing?

Exactly.
I understand he did exceptionally well with it.

He sure did.
I would like to work with him one on one.

There is a few people that would. I talk to people all the time that love him, but he hasn't broken outside Australia.
Give him to me for a week, and there would be some serious shit going on. There are other ways to make it sound cool, without having to use guitars.
Listen to Shelter, you can kind of hear that going on to a degree.

What about some of the other songs on the record. There are a couple with Stan Bush – any chance of working with him again?
We are not the same kind of human beings. He is a nice enough guy and I think he is very talented, but I don't really like to work with anyone that I really don't have fun with.

He strikes me as a very serious guy.
We just come from different worlds. I am a New Jersey street kid, and he's not!
But I had met him through Jonathan Cain and those kind of people and I think he is very talented, but we don't have anything in common.
I haven't seen Stan in ten years or so.

Are some of the songs that old?
No, no. a lot of them are new. Ghost Of You is brand new, Shelter also. Fairly new.
Victim of The Night I had done when I was back in Surgin' – that was way back in 81 or '82.

You also did the Alice song.
The Alice one, yeah. That has always been a favourite of everyone's, and Alice and I were talking about it and we said fuck it, let's do it.

Good version.
Yeah, that's pretty much the way the song went down.
Pretty much how it sounded.

Okay, and what are you working on now?
Oh man, too many things.
You know I have been primarily doing mainly in R&B. that's all I have been doing for 3 or 4 years. But I am working with this band Brownie Mary that will be out on Sire, I have finished that.
Working with Alice on a new record. He starts in around another month.
Working with Nelson on a new thing.

Very cool. How much involved are you with that?
I am very involved with Nelson.

Their last album, the Geffen shelved album was legendary! I can't understand why no one would not release that!
That is a long story. I think it is a great record, but it is a long story.

Is the new one similar to that one, or more in their pop style?
Definitely more like that.
Yeah, I have been with Matt and Gunnar for about 12 years.

Is that right?
There is definitely some interesting things going on. Music I think, is really starting to change a lot.
I am kinda just sitting back waiting to see what happens.

There seems to be a real opening for a style or an artist to come through.
Absolutely, no question about it.
Its definitely time, and I think guitars are going to become hip again.
You are definitely seeing it around here.
Even something like The Wallflowers is indicative of that.
If you were to change the mixes, you would have what we were doing in the 80's, you know. It would be no different, just the mix.

I have been talking to Chip Z'nuff a lot. We might do something. We are kicking around some ideas.

That would be cool!
Yeah, he is part of the old guard, you know.

They are still doing all right on their own.
Yeah, they are doing fine.

You worked with Shark Island, right?
Yeah.

That was a great record.
Yeah, thank you. that was a lot of fun. I enjoyed working with Richard, he was great.

Do you know why Richard disappeared from the scene?
Yeah he is in hiding in California!

He has such a great voice!
Richard doesn't really want to do anything. We have had some conversations, he really doesn't want to do anything.

Did he get burnt on it all?
I think after he did that thing with Tracii Guns, er, whatever the fuck that was called.

Contraband.
Yeah, Contraband. I think after that he had just kind of had it.
And Axel Rose did Richard's whole thing to the bone.
I mean, it would have to be a substantial offer to get Richard to come out of hiding. But I talk to him pretty often.

I saw Shark Island do a club gig in L.A in '92, and man, he is one of the smoothest front men I have ever seen, live or on video!
Yeah, he's a motherfucker!
I am actually kicking around the idea of releasing all unreleased stuff from everything I have done.
Shark Island, Babylon AD, Nelson, Trixter, there is so much of it.

What, all on one record?
Yeah, everything I've done with the bands on one disc, over my career.
We have all of it. Everything from early Bon Jovi thru Merideth Brooks actually.
There is quite a lot. So we are just kicking around the idea of maybe doing that.
I don't think that has ever been done before, that is a cool idea!
Actually I have to get in touch with Derek from Babylon AD, because he doesn't realize there is a R&B version of one of the tracks we had done.

Seriously!
Yeah, it's pretty funny!
The song 'Desperate' has been completely flipped into a R&B Urban track.
I haven't spoken to Derek in years.

You still keep in touch with people?
Well I talk to Matt and Gunnar from nelson everyday, and occasionally I will her from Richard, or Every Mothers Nightmare or Dangerous Toys, but not much else.
I actually tried to get any from all that, when I made the switch to R&B/pop.
I had to clear me head into what I am doing now.
But it seems to be coming me back in again.
Whatever, you know, I am cool with it.
It may be time to look at it again.

You know, part of my crew is from Australia.

Who?
Kevin Shirley.

Is that right?
Yeah, I am the one who brought him to the states.

He is going off right now!
Yeah, if you look at the Baton Rouge credits, you will see hi there, because he set up the mix.

He has pulled off three or four pretty big albums in a row, eh?
He just finished the Dream Theater.

I got that.
Yeah, I heard his brilliance when he was doing Baby Animals, you know, I said to him what the fuck are you doing in Australia?
You have to come here to the States.
He did a Doro record with me. Kevin is wonderful. Super-talented.
He is a very dear friend.

It was fun working with Kelly again. I haven't seen him for a few years.
That was cool.

Are you two going to work together again?
Yeah, we'll work together again. Kelly and I were always Baton Rouge.
Whenever we get together it's going to be Baton Rouge.
'Lights Out' was a really fucked up record, really dark. I think this is a little cooler.

I think it's the best album of them all.
Thanks, I appreciate that.
We just did it to have fun with it. We just said fuck it, let's have some fun with it.

Okay Jack, I appreciate your thoughts.
Okay Andrew, keep in touch man, anything you need I am here.

Thanks Jack!

BACK TO THE HOT SPOT

Tags:

1997

Tue

Feb

Slaughter - Blas Elias (1997)

Artist:

Slaughter

Blas Elias

Categories:

Interviews

Blas, Slaughter are one of the few bands that survived the musical
'cleansing' of the past few years. Was there a time or two there when you
thought you weren't going to make it?
We went through some very trying times. We never really talked about it but
I'm sure everyone at times had some thoughts that maybe we wouldn't make it.
We're very happy now and things seem to be getting better all the time.

Stick It To Ya was huge - you may not have been an overnight success story like people like to make out (you know, hiding the hard work behind the success), but did it surprise you to have such a hit with your first record?
I think there was so much going on at the time that none of us really had
time to think much about it. We were constantly on the move and busy doing
all kinds of things. When we look back on it although we put a lot of hard
work into it we were pretty lucky to have the success that quickly.

How did each of you guys handle the exposure and success?
Everyone has their own way of dealing with it. I can't speak for everyone
else but I think I kind of created an alter ego to be able to deal with it.
I was not used to dealing with lots of people and crowds very well before so
I had to create another part of my personality. Sometimes you lose track of
who you were before but over time I was able to get a handle on it.

So did your ego's start to build, or were you able to remain down to earth (It
seems you were able to keep it in check!!)
We all remained pretty down to earth. Compared to a lot of people I think
we did pretty well.

Opening for Kiss must have been great!
Opening for Kiss was one of the highlights of all of our lives. I grew up
listening to Kiss so it meant a lot to me. I got to be good friends with
Eric Carr and we all learned a lot from working with them. We all have some
memories that will last a lifetime.

Did you have much pressure on you, while recording Wild Life?
Yeah I suppose there was some pressure. We tried not to think about it too
much and we had a pretty good time making that record. It's a lot more laid
back now working with an independent label. We have more freedom to
experiment I think.

You split with EMI to CMC, where you still are today. What prompted that
decision?
Everyone who we knew at the label had been fired and we were afraid that they
wouldn't support our vision of what our music should be. They wanted us to
be more alternative so we went somewhere that we could make the music we
liked.

Did that move help you stay together as a band? It seems those that stayed with a major ended up being screwed anyway!
Yeah I'm sure it did. EMI has not had any luck with rock bands since we
left. In fact they just went out of business.

So here we are now - it's been a few years since Fear No Evil, how are
things going with 'Revolution'.
Things seem to be getting better all the time. We're going to be on a big
tour here in the states this summer with Alice Cooper, Dokken and Warrant and
radio support seems to be increasing all the time.

I think the album is great! Possibly my favourite Slaughter record.
What was the intention going in to making this album?
Just to make good music. We weren't trying to follow any trends. We enjoy
making music and we're glad we still have the freedom to do so.

Was it to make something a little different?
We wanted to try a few different things. We always like to experiment. Our
main love is good hard rock music though.

Just going through the tracks if we can.....Can you comment on each one?
American Pie is already picking up steam for you. Great anthem (laid back
too!)
We all love the groove, reminds me of the seventies.

Heaven It Cries...heavy, different.
Going over great live. It's one of all our favourites to play.

Tongue 'N Groove....Heavy grooving tune!! Big bass!
Kinda reminds me of some old VVI stuff. Lot's of people who say it's their
favourite.

Can We Find A Way...hit tune all over it!
Great vibe. Haven't tried it live but it's one of my personal favourite.

Stuck On You....psychedelic?
You kinda have to have a sense of humour to enjoy that one!

Hard To Say Goodbye....another single?
Yes, it will probably be a single. It's going great in Japan already.
Another favourite of ours.

Revolution....
great live tune. We play it at the beginning of the set.

Guck?
Mark's kid's first word. He kind of wrote it for him.

Heat Of The Moment....great melody.
Great sexy groove. Lots of females seem to like it.

Rocky Mountain Way...
We used to play that as an encore on our last tour and people seemed to love
it. We were just messing around with it in the studio and decided to record
it.

You're My Everything....catchy as hell...single?
Reminds me of some of our earlier music. It's a favourite of a lot of people here
already.

I'm Gone...the heaviest thing by the band yet? Huge!!
That's the first song in our live set. Great song to get the crowd going.
Ad Majorem.....
We use it as an intro to our show. Cool mood piece.

And finally, you guys support your fans on line, with sites and e-mail.
Do you enjoy that side of things?
It's been great to be able to communicate directly with fans on the Internet.
It helps to keep people informed about new music.

And when did you get into that side of things?
I started getting into computers about six years ago to help with audio
editing in the studio and songwriting.

Anything you want to add to the fans out there?
We're having a great time on tour this year so we hope to see you all soon.
We also look forward to coming to Australia soon!

Thanks a bunch mate!!

Tags:

1997

Tue

Feb

Axe's Bobby Barth (1997)

Artist:

Bobby Barth

Categories:

Interviews

Bobby Barth is the guitarist, producer and songwriter in Axe. The band that have produced a brand new album after 15 years of just 'hanging out'. But he hasn't been idle in the meantime. Bobby runs his own production/management company, has built his own studio, and recently produced and helped new U.S act C.I.T.A break out a couple of good albums.

So Bobby, it's been a long time between drinks for Axe, eh?
Hey Andrew, no Man , we always got together to drink , we just didnt record!!

So what led you guys to reform?
We had always stayed in touch with the idea of someday going into the studio, but it never worked out, schedule wise, until this year.
With a few of the records I have produced doing pretty well, MTM asked about an Axe reunion record, I called everyone and we stocked up on beer and cut the record.

It doesn't sound like you have skipped a beat! How was it to get back in the studio after all thses years?
I was amazed at how much better everyone played, how much more mature they were, music wise...and age wise...If we could have been this together back in the 70's and 80's we could have chined the world. It was like we had never been apart, Edgar emptied ash trays , I yelled, and Teddy got pissed and went to sleep. The new guys didn't know what to think.

Yeah, great!? You have not been a stranger to the studio in recent years besides Axe. How did you get involved with the band Caught In The Act?
C.I.T.A. came to my attention right after my stint with Angry Anderson, the week I got back from Sydney, an old buddy called from Colorado and asked me to produce a demo for a band he booked, I flew out from L.A. and fell in love with the band. It was like going back 20 years and looking in a mirror. At a time when everyone was doing Alternative crap, C.I.T.A wanted to do songs, what more could I ask for ? I got them a deal in Europe and Japan, and have been looking out for them ever since.

Both their albums ahve had a positive response, has it been a positive experience for you?
Yes, its been great for both of us, unlike a lot of young bands who think they know everything, and are to stubborn to ask for help when they find out they don't, C.I.T.A has been open to work through what ever needed to be talked about, and have been like pros from day one.

How about their future plans, will you be involved again?
My company, Barth/Turner manages C.I.T.A., so I take an active interest in all parts of their biz. We will be going back in the studio this summer to do their 3rd record.

It sounds like you may have had some influence over the band.Does it help for a young band to have a guiding hand such as yourself?
Depends on the guiding hand. Axe had one, and it guided us into a brick wall going about 90 miles an hour. I think I have less influence than you might think, it just happens that we like the same music. The C.I.T.A guys were all Axe fans and started out learning melodic rock songs as young kids.

Are there any other acts you are or have been working with?
I do about 4 albums a year, right now I am working with a pop band called the Tremors and it should be out later this year, also a southern rock band called The Red Rock Roosters, also due this year. There is one other band we are just starting called Wishdoctor, its kind of a 9 inch nails / C.I.T.A., its gonna be fun.

Any you would like to work with?
Angry Anderson, I lost touch with Angry after I left the band and I must tell you I think he is one of the best guys on the planet, if someone has an e-mail for him, let me know. I would put him in the studio anytime... and thats a little easier now that I own the studio.

Back to Axe, what plans do the band have?
10. We are working on songs for a new Axe record late in the year (to start anyway). And we may try to tour Europe in the fall. Bob Harris (Axe) and Danny Martinez (C.I.T.A.) and myself went to Germany in March and did some acoustic gigs, we had a killer time, so I would do that again in a heartbeat.

What do you think about the scene there at the moment? I am seeing and hearing a slow return to classic rock.
The scene in the U.S. sucks, it has become a crime to know how to play your guitar...tune...or write a melody. I agree that it is slowly coming around, I have seen this twice before.

How has the response been to the album, in the US and in Europe.
In Europe its doing great, and here in the U.S. we havnt really released it properly, our company sells only over the internet, and the business is good.

What part if any, does the internet play for you, the label, and the band?
As I said before we market all of our acts via the internet and the N.E.H. Records website http://www.nehrecords.com we all love the net, it helps us to be able to talk to the fans and find out what they are thinking.

What are your plans for the future? Anything you would like to do?
We plan a CD later this year, and I just want to continue to produce and write until I get sick of it.

Anything you would like to mention or plug?!
Just want to invite everyone on the web to come and visit the NEH web site!

Back to MelodicRock.com

Tags:

1997

Tue

Feb

Brett Walker (1997)

Artist:

Brett Walker

Categories:

Interviews

Born and raised in Norman, Oklahoma Brett Walker picked up the guitar at age 15 and soon began playing school assemblies and town functions.

At age 20 he made the decisive move to Los Angeles where he found himself as a "hired gun" playing with such artists as Tahnee Cain and Nick Gilder. A It also marked his introduction to the world of professional song writing.

Branching out on his own, Brett began seriously pursuing a career as a singer/songwriter and in 1988 had his first cut on a record on a major label record. He continued working on his own, and on the strength of his tape, went to NYC to work with renowned producer David Prater (producer of Fire House and Dream Theater).

In 1989, Brett wrote two charting singles; one for Jimi Jamison and the other for the band Alias. "Waiting for love" recorded by Alias, went on to become Brett's first top ten single in 1990.

After being courted by several companies, Brett signed a major publishing deal with Virgin Music in 1991.

Now I stole all that from Brett's web page (thanks Brett!), and that sort brings us up to where Brett released his awesome debut album 'Nevertheless'. So I caught up with Brett to see how one makes such a good record......

So Brett, you have been working as a songwriter for a number of years. Was always your intention to have solo records?
When I first started playing as a teenager, I always pictured myself in a band. But after I got a bit older, I realized that my lyrics only made sense to me when I was writing about something personal or close to my heart. So it just seem natural to make music as a solo artist. Other people that know me well tell me I am definitely a solo artist. I think that other people tend to see you more as what you are than you do.

Can you tell me some of the artists you have written with/ or for? I know of your hit with Alias, and also a song covered by Jim Jamison you and Carl Dixon wrote.
I like writing for myself mostly these days. It seems that the business of trying to get songs on other peoples records has turned into a very corporate commercial game. I don't know, maybe it always has been and I am just now noticing it. It seems you have to have titles like "Waiting For Love". I think I've grown out of that.

You seem to work with Carl a lot. Good guy to write with?
Carl is a very intellectual person. He reads alot and can converse on any subject intelligently. Great sense of humor. Horrible kisser though! (joking)

You wrote a few on his solo record 'One'.
Yes.

How did your solo deal come about with Zero, and with Empire?
Magnus Soderkvist called me up from Sweden and asked me if I would like to meet with him and Christer Wedin from Empire. I was flattered and excited.

Congratulations on a superb record!! (Nevertheless) There are melodies and harmonies an the album, that you just don't hear often enough, or of quality like that.
Is it hard to get that mix, or is it just the style you write in and enjoy?
I just do what feels good to me and I have to believe that what feels good to me, is also felt by other people. I find if I make a real heart felt statement that is honest, the rest of the world feels the same way. ya know?

You wrote with some pretty cool musicians for the record.... Can you describe working with.....Stan Bush......Nick Gilder......Moon Calhoun......Jim Peterik......and Jonathan Cain.
Now that would take a while! Jim Peterick is a very funny guy who has a very dry sense of humor much like my own. So we sort of naturally clicked. Nick Gilder is very artsy and a little more on the unique side. He's not really into an instrument or music theory, but that is what gives him his (Sky is the limit) creative veiw towards music.

Now, you worked with Jonathan more on the new Railbirds album, didn't you? I read that you are a huge fan of his!
Yeah, Faithfully still gives me chills from head to toe when I turn up the speakers to 10. One of the best all around musicians I've ever had the pleasure to work with. It was tough producing his organ playing on my record, because everything he played was brilliant. I honestly couldn't decide which takes were the best.

Why the change to a band name?
We're aiming for an American release with this band. America is not really signing many male solo artists these days. I think Bryan Adams kinda wore that dream out for the moment.

Yeah, that Bryan Adams thing, it's a real shame he has to resort to material like the schlop he sings today. I still think his finest album is 'Into The Fire'. He actually sang about something then!! He has such a class band, they are all being sold short.
I agree 100% And don't be afraid to print your opinion on that. I think there are alot of people that feel that way. But alot of people are afraid to say it. Hey, life is too short for gutless music. Even if he did make gutsy music at one time. That don't mean you have to like everything he does.

Where did the other guys in The Railbirds come from?
I've known em forever. Old friends...

Tell me about the different sound on the new album.
Well I wrote or co wrote all of the tune so it is still my kinda thing. I'd like to think it is a bit more modern than nevertheless. I want to always try new things. Otherwise, whats the point. I respect people that have a common thread that runs through their work called, Quality. Not familiarity.

You mentioned that you are trying to licence that album elsewhere around the world. How is that going?
I'm working on remixing and writing a few new things with Steve Lukather for an American release. Hopefully soon.

I love the captions on the sleeve of Nevertheless, after each song. Does Brett Walker have a pretty good sense of humour?
Yeah I think so. I'd like write a little more of it into my music in the future. Some of the greatest rock-n-roll lyrics of all time are very humorous in a satirical way. Tom Petty's the king of it.

It's nice to see an artist not taking themselves too seriously all the time!! How about touring? Do you enjoy getting out and playing live?
Yeah, we just did a Scandinavian tour that was a lot of fun. Very tireing though. I learned alot. You got to take care of yourself out there on the road, or else you burn out and can't sing. When people want to take you partying, they don't have to be on that bus at 9:00 the next morning and be on stage singing the next night. I used to think I was immortal. After a couple of weeks of partying in Sweden, I realized I am not.

What albums have you been listening to recently, and what records have influenced/inspired you to write?
I like the new Sheryl Crow record. I don't know, I seem to be getting less and less impressed by the music these days. Maybe it's just a phase I'm going through. Or maybe most of the current pop music out there just sucks large donkey ding dongs. Actually, I'm more turned on by whats happening in Europe at the moment.

Is there anyone out there you would love to write with?
Honestly? Not really. I'm more turned on by hearing other peoples magic and being inspired to go create something on my own. It's a very personal experience and I have a lot of fun exploring it on my own. Sure there are some heros of mine that I would be excited to work with if they showed interest. Steve Lukather is one of those hereos.

What else are you up to at the moment?
I just finished a couple of countryish tunes for a country artist that Dan Huff is producing in Nashville. It's not real dirt country.. More like the Eagles.

Okay Brett, you have to tell me about working with Steve Lukather!
Steve is a great guy. No egos, no rockstar attitudes or bullshit. He's a very humble guy. If you didn't know what great work he has done, you would probably know him for 5 years and he would never tell you. That's how down to earth he is. A living example of what a celebrity should be. Which is ironic because a lot of people in LA tend to think name dropping impresses people. When your around Luke, what name could you possibly drop? I mean hell, he's played on damn near everyones album. I mean what name could you say to impress him! "Ya, I'm working on this project with the Pope at the moment?" I mean really..
We are planning to remix the new album at his studio and are writing a few of new songs to add to the album.

With you re-mixing with Steve, does that mean that the album is not currently out in the States?
No it's not out in the states yet. We had some problems with our American Label (Intersound). I'm actually glad about that now. I tend to think that all things happen for a reason. Which is another story.....

And when it is releases will it still be the Railbirds album (or most of the original anyway)?
That's a good question. I think we will pick the very best of the record and add a few songs to it. Ya know, try to make it top notch. We are talking to a couple of major companies for an American release.

And I have to ask, have you any great bits of gossip or innuendo that I can help spread?!!!
I'm all out of gossip at the moment. Except I heard that Brett Walker used to be a lesbian female. Bretrisha. OK OK enough....

Thanks Brett!!
OK, Thanks Andrew and I'll talk to you soon.

For your enjoyment....Brett's discography (also borrowed from his site!):
1990 Stranger Michael Thompson Band / Geffen Records.
1991 Waiting For Love Alias / EMI Capitol Records (BMI Award Winning Top 10 Single).
1992 Taste Of Love Jimi Jamison / Scotti Bros Records (Billboard AOR top 50) Also available on Jimi Jamison/Survivor Greatest hits Volume 2 / Scotti Bros Records.
1993 After The Tears Jeff Paris / Now And Then records.
1994 Nevertheless (Entire album) Brett Walker / Empire Records Scandinavia / Toshiba EMI Japan (Scandinavian Top-40 National Sales Charts / with Top 10 radio hit ).
1994 Snakes In Paradise (co wrote 5 songs & produced the album) Snakes In Paradise /
Toshiba Japan / Various Labels In Europe.
1996 Brett Walker & The Railbirds (Entire album) Brett Walker / Intersound Records /
Westcoast Sony Scandinavia (Top 40 Radio Hit In Sweden & Denmark).
1996 Silver & Gold, It's A Good Thing, Drown In Your Ocean Westcoast Compilation CD Westcoast/SGA Europe.

Tags:

1997

Tue

Feb

The Storm - Ron Wikso (1997)

Artist:

Ron Wikso

Categories:

Interviews

Ron Wikso is a busy man. Not only is he the drummer from AOR supergroup 'The Storm', featuring Journey bassman Ross Valory and ex-Journeyman Gregg Rolie (and Steve Smith initially), but he is also the drummer in a revamped Foreigner. Add Cher and David Lee Roth to his resume, and I would say that would make him an essential gentleman to talk to! Here goes...

So Ron, how long have you been playing drums, and how did you get started?
This year marks 30 years! I started when I was REALLY young!! Basically, I just started with a neighbor of mine showing me some stuff on a practice pad and then my mom got me private lessons from the local elementary school's band director. Then, a couple of years later, when I was old enough, I joined the school band and kept it up from there.

What was you're first big gig?
If you mean my first big tour, that would have to be the Cher tour that I got in 1989. We did the MTV Music Awards, Prime Time Live and lots of other major TV stuff in addition to the arenas and amphitheaters that we were playing at on tour. Prior to that I had worked with a lot of other people that you would probably consider to be fairly big but, not in quite the same capacity.

How did you get into the role as The Storm's drummer?
I was initially referred to The Storm by Pat Torpey (drummer for Mr. Big). Mr. Big was being managed by the same guy as The Storm...Herbie Herbert.
Pat heard that Steve Smith was leaving and reccomended me for the job. After that, I learned that I had also gotten a reccomendation from Steve and from Deen Castronovo (drummer for Bad English, Hardline etc.). I also happened to mention to Mickey Curry (drummer for Bryan Adams) that The Storm might go on tour with Bryan and that there was a chance I might check out the gig.
Well, he immediately (with no prompting from me by the way) got on the phone with Bruce Cohen (Bryan's manager) and called Herbie on my behalf!!! I was blown away that all of these guys would do that for me!!
Anyway, even though I had all of those referrals, I still had to audition (along with about 15 or 20 other guys) and, after meeting the guys and playing with them on 2 separate occasions, they asked me to join the band.

How does the band go over live? I have never read a review for one of their live performances.
When the band was out touring, we did very well live. I have some reviews laying around here somewhere and, perhaps I'll dig them out and have them posted on The Storm's Web Page.
http://members.tripod.com/~jrnyfan/storm.html

You are working with some great musicians, has it been fun to work with Gregg Rolie, Ross Valory and Kevin Chalfant?
I have had the very good fortune to work with many of the best musicians in the world, and the guys in The Storm are certainly among them....it's been a blast!!

You were saying you stepped in right after the first album was released, for touring....and now you are a full fledged member with co-writing credits etc. Did it take long to fit in?
I must say that the guys in the band, particularly Gregg, made me feel at home virtually right away, so I guess the answer would be no, it didn't take long at all!!

What was the band doing in between albums? I know there was record company difficulties etc. How did you keep busy?
We have all kept busy in our own way but, for me, it's been by working with as many people as I can on various projects and by continuing to tour. In 1994 I toured with David Lee Roth and since 1995 I have been touring with Foreigner. Unfortunately, The Storm was forced into a bit of a state of limbo waiting to see what we could do with the record that was already in the can. It took a while but, at least we have finally gotten it out there!

So what happened to finally get the second album out, besides the fact that MFN signed you in the UK.
Well, there were some legal issues that needed to be settled but, basically our managers had to negotiate with Interscope Records so that we could take the record elsewhere. Once that was taken care of (and that's what took the most time), Scott Boorey (our manager) was able to make the deal with Music For Nations in Europe and Avex Trax/Bareknuckle (EMI) Records in Japan. We're currently looking into having it released in the U.S. and the rest of the Pacific Rim.

When was the second album actually recorded? I heard it was right after the first!!
It was recorded about 2 years after the first one. Pre-production started in February of 1993 and tracking began in March of 1993. The album was mixed and mastered by July of that same year so, as you can see, it took about 3 years from the time it was recorded for it to see the light of day.
That was very frustrating, especially because we all thought we had made a great record. Oh well, you can't cry over it...at least it did see the light of day!

The band had a great debut album, but the second was a much more cohesive and balanced effort. What do you think about the second album?
Well, first of all, thank you! Second of all, I would have to agree with you.
I think that the songs are better overall and that the album plays pretty well from beginning to end. You might say I'm a bit biased though!!

Was it great to be a part of the songwriting, with the two tunes on the 'Eye Of The Storm' album?
It was a very satisfying experience to be able to take my song ideas to a guy like Gregg Rolie and actually have him listen to them!!
Then we were able to work on the stuff together with Kevin Chalfant and I think the results were pretty good. When I first heard Kevin sing the demo for "Waiting For The World To Change" I was elated!!

Do you do much in the way of writing?
I have dabbled with it on and off over the years but, it's never been my main focus. I have been thinking of getting more into it again though. We'll see.

So dare I ask...where are the band at now? And what do you see happening next?
Well, basically we are all just living our lives. I'm doing the Foreigner gig, Ross just did the Journey record, Gregg has been putting out his solo stuff and the Abraxas stuff, Josh has been playing with some people in the Bay Area and Kevin has been doing his solo stuff back in Illinois.
As far as what I see happening next, I hope to see the record released in America and the Pacific Rim. I know that it's doing fairly well so far in Japan and we hope that, if it does well enough, we may be able to go over there and tour in the fall but, that's really a bit premature at the moment.
We would love to do that in other territories also but, it would have to be economically feasible.
We would also love to do another record at some point but, we have to see where things lead with this one first.

The record has just come out domestically in Japan, is there any chance of a U.S release?
There's a very good chance but, we haven't made any deals at this point.

I would have thought the album would be a natural hit in the states given half the chance!!
We think so too so, keep your fingers crossed!!

Okay Ron, here is where I dig for the dirt - tell us about working with David Lee Roth!!!
What do you want to know?!

Is the guy a real control freak or is he misunderstood?
Well, I really don't want to get into any particulars about working with Dave but, I will say that it was certainly an experience I will never forget!!

You know, I am a huge Van Halen fan, and a huge Sammy Hagar fan. But if they were going to dump Sammy, Dave seemed like a good alternative. When the band dumped him again, I thought he won a lot of fans from his dignified response, and exit...What do you think?!!!
I wasn't there so, I don't know what actually happened. But, as Don Henley said, there's 3 sides to every story...yours (Dave's), mine (Van Halen's) and the cold hard truth.

What about working with Cher? That would have to be an experience!
Working with Cher was quite an experience. Her gig was much different than what I do normally with bands.
There were so many other things to be concerned with...the timing of set changes, playing cues for dancers etc. It was cool but, in a much different way.

Now I am also curious to hear about your involvement with Foreigner. How did that come about?
I was referred to Foreigner by my friend Thom Gimbel, who I went to Berklee College of Music with. He has played sax and guitar with them on and off since about 1992 or 1993. He also plays, keyboards, sax and sings backup with Aerosmith.
Anyway, he had heard that Mark Schulman (who I also knew a little bit) was leaving the band and that they had listened to about 40 or 50 drummers and hadn't found one that they liked yet. I also knew Foreigner's managers because they had worked with David Lee Roth (until Dave fired them) in 1994.
Thom put me in touch with Bruce Turgon (Foreigner's bass player) and after talking on the phone for awhile (turns out we had a lot of mutual friends), Bruce arranged for me to go to New York to play with the band. After playing with them for a couple of days, they hired me!
As far as what we are doing right now, we are going to Japan on April 15th for about 11 days. I know that we are supposed to go out this summer (possibly to Europe) but, I don't know exactly what or when that will be.
We are also supposed to do another record at some point this year but, that has not been scheduled yet either. We should know soon though!

When did you join up with Foreigner? I saw them live in Canada in '93....awesome concert!
I joined the band in January of 1995.

Do you know what David Lee Roth is up to now?
I heard he's spending a lot of time in South Florida but, other than that, I have no idea.

And finally, what plans do you personally have for the future? Are there any projects that you would like to put together?
I'm not exactly sure how to answer that one. I just usually take things as they come. There are lots of projects I'd like to try and put together and lots of people I would like to work with but, it's hard to say what will actually come to fruition. Time will tell!!

Thanks Ron, I will be back to you for an update! Till then, good luck with everything.

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The Storm - Ron Wikso (1997)

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