Tue
07
Feb

Jack Ponti (1997)

Artist: 
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!




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Tue
07
Feb

Slaughter - Blas Elias (1997)

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!!


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Tue
07
Feb

Axe's Bobby Barth (1997)

Artist: 
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!


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Tue
07
Feb

Brett Walker (1997)

Artist: 
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.

 

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Tue
07
Feb

The Storm - Ron Wikso (1997)

Artist: 
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.

 


Back To MelodicRock.com

 
Tue
07
Feb

Night Ranger - Kelly Keagy (1996)

Categories: 
Interviews

Okay, so we all know who Night Ranger are, if not, check out my Jack Blades interview. This however was a slight variation on the form of the band, with original members Kelly Keagy and Brad Gillis joined by ex-Jeff Paris bass man Gary Moon. They went onto record the very fine album 'Feeding Off The Mojo'. Here's the story.

So Kelly, how is the band and what are you up to currently?
The band is preparing to tour the south behind the newly released single ‘Precious Time’.

All the reviews I have read for 'Feeding Off The Mojo' have been excellent, are you happy with the reception for the album?
Radio is still focused on playing alternative music, so getting airplay has been frustrating.
However, we have been gratified by the reviews. It seems the consensus is it’s a great record and will be a shame if it doesn’t get the proper attention.

Many bands have comprimised their sound for the trends. 'Mojo' is a very contemporary sound, while still retaining everything a classic Night Ranger album should. How did you go about the song writing?
Writing the songs came naturally, we can’t do it any other way.
The songs were written out of personal experience or with a personal connection. As for the sound, we tried to keep the recording process simple. We didn’t want to over-process so we tried to keep the first takes in order to maintain the raw feel.

Kelly, your voice is obvious with the songs you sing on the album, but it sounds like there are two other singers with the diversity on this record. Who's responsible for the other leads?
Mojo, Last Chance, Try For Good Reason, Music Box and Longest Days were all sung by Gary Moon. I sang Precious Time, Night Has A Way, Do You Feel Like I Do/Tomorrow Never Knows.
Vocals were split between the two of us on Tell Me I’m Wrong and So Far Gone. Brad and David Pratter joined us for background vocals.

It is nice to hear some lyrics with hope and a positive message, like 'Try (For Good Reason)'. What was that song about?
Basically, the song reflects a particularly difficult time for us both as a band and individually.

In the absense of a better word, the album seems quite moody. Was that a feeling you tried to create, or again, was it just the way the band felt?
It came naturally. It is moody, we were moody. The moodiness probably comes through as a reflection of our own personal growth. Rather than just fast cars, girls, and how we can rock, we were motivated by a more spiritual side.

How long has this line-up been togehter?
We three have been playing together since 1992. We heard about Gary from Jeff Paris, a well known singer/songwriter from L.A.

I have read a lot of comments praising your recent live shows. All raved about the energy you guys created on stage. Is it just the three of you?
We are really enjoying playing with this line-up. The band is incredibly strong vocally, especially with the addition of David Zajicek for touring. David also does fine keyboards and amazing guitar work. In fact, he did some work on the record. All in all, it has been a great experience.

How did the band team up with David Pratter for the recording of 'Mojo'?
We met David Pratter through Don Grierson, the Executive Producer at the record company. Don Grierson had worked with David on Firehouse and we knew of his work with Dream Theatre.
Working with David Pratter was a learning experience for all participants.

And you assisted the production?
Yeah, I’ve been involved with engineering and producing for the past ten years, whether it has been with my own demos, other bands or previous Night Ranger records.

In previous years, there was talk of dissatisfaction regarding record label handling of Night Ranger. Was that frustrating?
All’s I can say is yes.

How much did that lead to the split of the band?
Directly.

Wow! How is your current label working out?
It has been a great pleasure working with Don Grierson at Drive. We had a great respect for his accomplishments with so many artists, such as Heart and Cheap Trick. As our Executive Producer, he shared our vision and restored our faith in record company decision making.

There are a few guest writers involved with the writing of 'Mojo'. How did they get involved?
The guest writers were longtime friends who we felt added special flavours to our writing. We made an exception with ‘The Night Has A Way’. In that case, Don Grierson asked us to listen to the song because it had affected him so much and we couldn’t deny it did the same to us.

Any other plans for singles off the album?
As a matter of fact, ‘Precious Time’ was just released as a single to AC and CHR formats. We decided on ‘Mojo’ as the first single just to do something different. We have also released ‘Do You Feel’ to AOR.

Any favourite tunes?
Trying to pick favourites would be like choosing which child is your favourite. Each has their own special character. While it’s fun to play ‘Rock In America’ and ‘Don’t Tell Me You Love Me’ live, what excites me these days is playing ‘Longest Days’, ‘Last Chance’ & ‘Mojo’.

What was it like having a US number one with 'Sister Christian'?
I don’t know, I was on a bus riding 16 hours from one gig to the next! Did that place any unwanted pressure in coming up with more number one tunes?
I think everybody always feels that pressure, but you have to be who you are and try and write the best you can write.

Night Ranger have always seemed to have fun live, something a lot of bands have forgotten to do these days.
I’m glad you noticed, both that we have fun and others may have forgotten. We love to kick ass every night and enjoy playing with each other. The audience picks up on that.

Are you still incorporating your famous acoustic set into your shows? You were on of the first bands doing that.
Yes, I think the acoustic set is one of the highlights of the show. Of course, it’s a mix of the old and new.

What are you listening to right now?
I’m currently listening to Live, Weather Report and the Beatles Anthology.

Ever been to Australia?
No, but we’d love to, thanks.

What are your plans now/
Well, after your last question, it will depend on how quick you can get us those tickets on Qantas.

Well, if I could afford that, I would not be on the phone to you from Tasmania! Thanks Kelly for the time!

 


Back To MelodicRock.com c.1997 Andrew J McNeice

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Tue
07
Feb

Rudy Sarzo (1996)

Artist: 
Categories: 
Interviews

Rudy Sarzo has been one of the premier hard rock bass players, both in session work, as well as in a band enviroment.
He started out with Quiet Riot, with Kevin Dubrow, and built the band into a top five stadium act. He was part of the best Ozzy Osbourne band ever, including the legendary Randy Rhodes and drummer Tommy Alderidge.
In recent years, Rudy has recorded and toured with Whitesnake, recorded a blues hard rock album with Aldridge, Vandenburg and ex-Little Caeser vocalist Ron Young, played sessions with Paul Rodges and Alice Cooper, and conceived his own record label - Sarzo Music. With the label, Rudy has set out to expose the world to Spanish rock acts, with new CDs out soon. For the low down on the goss, read on....

Rudy, it’s great to talk to you! What’s going on right now?
I'm getting ready to start pre-production on the new RATT album.

I heard you were involved in the reformed Ratt. How did you get involved with that?
When the original bassist, Juan Croucier, declined the offer to rejoin RATT the manager suggested me. Warren and I have already toured together (Whitesnake 1994) and I know the other guys from the L.A. music scene.

When will that album be out?
The plan is to go in the studio this winter and release the album in the spring with subsequent tours in late spring and summer.

Do you have a label lined up?
Management is handling all the record label negotiations.

How about your own...Sarzo music?
My record label just specializes in rock in spanish.

How is Sarzo music going? For those who aren't aware of it, what is your aim with the label?
Sarzo Music is growing stronger every day. We are gearing up for our next release, Jan 28, for the Argentinean group SANTA's latest CD ADRENALINA. SANTA is a rock in spanish band whose sound is best discribed as a blend of Pretenders and Cranberries. My goal with Sarzo Music is to expose artists from the ‘rock in spanish’ genre to the global market.

What bands have been released on it?
Besides SANTA we have released three other titles. LOGOS' CD Generacion Mutante, Stukas en Vuelo's CD, Interzona 66 and Armagedon's CD Ecologia. All of these titles are available worldwide through Caroline Distribution.

What about your future plans for Sarzo music?
My ultimate goal is to merge with a multinational label and take advantage of the infrastructure that a majsor record company has to offer.

You’ve been a busy guy with session work over the last few years.....
Yeah, in the past few years I've worked with Paul Rodgers, the late comedian Sam Kinison and Alice Cooper.

You must have had a few wild years with Whitesnake and David Coverdale a few years back!
I'm very proud to have shared the stage with David and all the others members of Whitesnake.

Fun?!
I had a Blast!!!!!!!!!!!!!!!

Any thoughts on the 'Slip Of The Tongue' album?
The original concept of Slip of the Tongue changed along the way during the recording process. Mostly due to the addition of Steve Vai, when Adrian was sidelined with a bruised wrist. In my opinion, Steve's work took the record to a level that most Whitesnake fans where not prepared for. I feel Steve did a great job of walking the fine line between addding his own identity to the record, and still keeping a Whitesnake album.

What happened with the band? Not meaning to pry or anything, but I would have thought you were a shoe in for bass on the latest line up?
This is a question David can best answer.

Okay! Any news there, that is how the new Whitesnake album is coming?
This is another question David can best answer.

You have played with some incredible musicians over ther years.
Quiet Riot and Kevin DuBrow...Whitesnake...Ozzy Osbourne...Tommy Aldridge (the octopuss!!)...Adrian Vandenberg...Frankie Banalli... I have very fond memories of all of them.

What can you tell us about working with them?
With Quiet Riot we started at the bottom and made it to the top. With Whitesnake, I mentioned before. The years with Ozzy are extra special. Specially because of Randy. Tommy is the best arena drummer I've ever played with. Adrian is a dear friend and a prolific guitarist. Frankie is the drummer who tought me way back in the early 70s, when we played together in bars in the Florida area, how to be a rythm section bassist.

Can you say what your favourite has been?
They are all very special to me. Randy stands out a bit more because of his extra qualities. Not only was he an innovative gruitarist who helped usher in a new era of guitar heroes, but also was a very humble man.

Any thing you would like to add.....future plans for yourself?....
I think we've pretty much covered it up until today. I had a wonderful time touring in Australia in 1994 and I'm looking forward to the opportunity of returning with RATT.

Okay, thanks Rudy, good luck with the recording!


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Tue
07
Feb

Marc Ferrari (1996)

Artist: 
Categories: 
Interviews

So Marc what are your movements of late?
More of the same!!! Last year my band "Medicine Wheel", released a cd called "First Things First" in Europe via Dream Circle and in Japan via Alfa/Brunette. We went over to Japan last November (1995) and played a few shows...it was great!!!

How have the two Medicine Wheel cds gone for you?
Pretty well....the first album, "First Things First" was released in Europe and Japan, and the 2nd one just came out, so we're in the process of negotiating deals right now.
I have also released my first-ever solo album called "Marc Ferrari + Friends: Guest List" last January. It features guest performances by Robin McAuley (MSG), Steve Plunkett (Autograph), Carl Dixon (Coney Hatch), Bob Kulick (MeatLoaf, Alice Cooper, Blackthorne), Tommy Thayer (Black n Blue / Shake The Faith), Pat Torpey (Mr.Big), and all the dudes from "Cold Sweat", and more. The Japanese version on Alfa / Brunette features a bonus track written by myself and Paul Taylor (Winger), and sung by Marq Torien (Bulletboys). I am trying to get deals here in the USA so it will be a domestic release.
It has done better than expected!!

How did you get so many great guys on the CD?
They were just friends of mine...we always see each other around in LA so it just seemed natural for me to invite mey friends to help on the CD

Will you work with any of the guys again, given the chance?
Absolutely...it was a dream working with everyone. I am a fan as well as a friend with all the guys on the CD.
I am a big fan of Robin McAuley and Carl Dixon and also Paul Gilbert.

You seem like a busy guy, what elso have you got on the drawing board for the near term and maybe even the long term?
Still working on getting the latest "Medicine Wheel" CD licensed...writing more songs for film / tv and keeping my business operating!! Yeah, how did you get into writing songs for TV?
Just starting submitting my songs for various film / tv projects...eventually people started usung some, and it just grew.

You have quite an impressive list of featured tracks!!
Yeah, I have been getting a lot of songs in...for those of you who are familiar with the first "Medicine Wheel" album, our song "Blue Over You" was in the latest Steven Seagal movie, "Under Siege 2!!
I also had 25 songs in the 1996 Summer Olympics, as well as songs in "Melrose Place", "Beverly Hills 90210", "Friends", "Guiding Light", "General Hospital", "Entertainment Tonite", "L.A. Firefighters", "Mad About You", "Sisters", "Lois and Clark", and some others.

Just how many?!!!
Nearly 350 songs in film / Tv in nearly 3 years!!

Did that lead you to your acting debut?
No, the acting thing was separate. I recently filmed an episode of "Murder She Wrote"...I played a guitar player in a band that was an accessory to the murder...the episode was called "Death Goes Double Platinum", and aired January 4. I also filmed an episode of "Step by Step" with Suzanne Somers and Patrick Duffy.
Although I'm not planning an acting career, it's fun doing these sideline gigs.
I got strted going back to the time "Keel" worked with Penelope Spheeris on a video for a movie she directed in 1987. I have since done some sideline work, but it's through the musician's union here.

There are a few reunions going on, how about a Keel one?
There are no plans for one right now...we haven't discussed it...everyone's doing their own thing!!! Do you still see the guys about?
Yes, I saw Ron + Dwain this year in Phoenix, and hung out with Bryan Jay also.

Did I hear correctly that Ron is now Ronnie, and down in Nashville?
Actually, he's in Phoenix. He goes by "Ronnie Lee keel" and is doing Country music!

Definate food for thought, that one!! Thanks Marc!

 


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Tue
07
Feb

Steve Brown - Trixter, Throwan Rocks, Soaked & 40ftRingo (1996)

Artist: 
Categories: 
Interviews

Steve first appeared as one forth of the youthful hard rockers Trixter. Their album, released at the start of the decade, went on to sell one million copies in the states, and gain the band a huge following.
Now Steve has moved onto a new act Throwan Rocks, who already have gathered a fan base along the east coast USA. Reviews for their four track EP have all been positive, and now the band are at work on a full length debut.
So how did it all come together?

How’s Things going then?
Going great!

What’s the new band then?
The band is called Throwan Rocks.

How long has the band beet together?
Right now the the band have been together exactly a year and a half.

That long!
Yeah, it’s been a project of mine that I started. Basically what happened, I built a studio in my basement of my house. Just started knocking around, experimenting and having fun, and all of a sudden I had four or five of these songs, that I listened to and I said - You know I have got something here. Different than what I had done in the past, and it was all me singing on it vocally, and I sent it to a couple of friends of mine I have in the business, my lawyer in particular, who is a big part in this band starting. He said you know, Steve you have a great thing here, I think we should go to work on it.
So I put a band together, basically it’s my buds, TJ, who was with Trixter with me.
Do me a favour when you write this. Just shy away from the Trixter comparisons. I don’t care if you mention it, but I am trying to get away from it. Unfortunately, Trixter was one of the greatest things in my life, but in the business they look at that in a weird way. Which is kind of a shame.
You know, what is the problem with selling a million records?

Do you think the band came across as manufactured by the label?
I don’t think so. I think what they did was take the strong elements of the band, you know, above and beyond we had some strong songs, but I think they used the look of the band. There was ne getting around it, there was three really good looking guys in the band, the youth of the band, but it’s kind of a weird thing. But either way you cannot deny the sales and what we did. We had a great time.

Yeah, I wouldn’t turn down a million sales.
No you can’t! Anyway, with this new thing I am trying to get away from mentioning it.

So what style is the band?
I would just call it pop. It’s in the vein, somewhere in a cross between The Beatles, Cheap Trick, The Stones, Badfinger, you know, but it’s not retro at all. But it is very pop.

So who else is in the band?
PJ, Maz, Jimmy Dilella, Tommy T Coombs.

And the album is finished?
No right now, we are just about to sign a deal with a major over here, so were are just in the process of signing a management deal as well as a label deal, all at the same time. Everything is going real good. At one time we had a limited edition CD, a 4 track, but they have all sold out. So right now everybody’s gotta wait until the record comes out.

Great!
Yeah, it’s a phenomenal band. I have never been so sure about something. We really put together a great band, and have a great time. What we are trying to do is bring fun and good times back to rock and roll.
I think people are sick and tired of all the abuse songs, and drug addiction, we want to bring to world a big fat smile.

I am really happy to hear that because a few other people have got the same attitude, including me!
Oh man, we are so sick and tired of all the morbidity. You know, with bands like Kiss back out on the road and Aerosmith coming out, we are going to be a band like that, in the sense that it’s a big rock band. Nothing but a good time is what we are about. But er, most of it’s just great music. It’s just great pop music, and whether you like it or not, it’s peoples opinions, but it will sure get your foot tapping.
And at some point when you come see us live, we will make everybody smile!

I wish more bands would take that attitude.
Well it’s tough, you know, every band is on it’s own ‘trip’. Which is whatever. I don’t concern myself with what other people are doing, I just do what I am doing, and fortunately I think I have nailed it on the head this time.

What happened to Trixter in the end? Did you call it quits and go you’re own way, or what?
Well I wouldn’t say that. I would say the business really called it quits. Really it was a question of economics. To be totally honest it was about money. We could not make money anymore.
We had gone out on the road in 94 and 95 for a three month American tour, and we realised, as did our manager and booking agent at the time, that we have really exhausted it, and we can’t make money at this anymore.
And unfortunately, we are professional musicians, so you have to make the decision. It’s really a strange thing what happened to Trixter. It really goes back to what happened to the band Badfinger in the seventies, they had big success, and then suddenly the well dropped out, fortunately none of the guys in this band have killed themselves, like they did, but it is an amazing story.
We did not have anyone like a manager, who could guide us and make it happen. It really just all fell apart with our management. Our management pretty much ruined us I would first and foremost say. It’s a big shame, because Trixter in my mind were what e real rock n roll band is all about. You know, like the Beatles or something, we all grew up together, we started playing as kids. You know, ten years after we started, we are out playing with Kiss doing arena’s and then a year later after that, the bottom fell out. I guess it comes back to the old motto, you have you’re fifteen minutes a fame.
No matter what happens we had the best time of our lives, we enjoyed it immensely.

How old were you when you got your record deal?
I was 19. PJ was 17, and when the record came out I was 20 years old.

Was that too much to handle for a 20 year old?
No it wasn’t at the time cause you have to remember, I had been playing clubs since I was 13. So I had been in the business a long time already. I had done a lot of the things before and had a lot of friends who were going through it. One of my friends is Snake from Skid Row. They had just come off a major record, you know, I had a lot of good guidance from people who had been there already.

It all helps!
Yeah, still it was a dream. We had about 13 months from Sept 1990, till Oct 91, it was like all the dreams we had all came true. It was an incredible year. We had a good three year run where everything was going great, then somebody pulled the plug.
Still, no regrets, we did everything right. The only thing I could say is that I wish we had a real management team. If we had that the band would probably still be going strong today.
We would at least have a career in other countries, like at leat Japan, but our management fucked that up.
It’s really what you can attribute it all too. And for every young band out there, watch out for management. You have to have someone who is on top of it and someone you can trust, and don’t become friends with them.
That’s what happened with us. Our managers became our friends and we couldn’t see the writing on the wall. You have to know when to get out, and when to get someone new in.

Sure, good advice.
Yeah, man I am going to be writing a book soon. The reality of being in a rock band in the music business’.

So you are serious about that then?
Yeah, I am waiting till the time is right, I think I could really help. I have known from the beginning one thing you need to know. That is, the music business is a business. The music is fun and all that, but first and foremost it is a business, it’s about money. Without the money, there is no music, cause you need money to record your music. Too many people get lost in the game of having a good time and being nieve about things. I would like to be able to write a book to share my stories, and to be able to give people real advice, not what fucking lawyers tell them, not what these books that road managers write. Something from a bands point of view.
The last couple of years have been a real education for me, that’s why I am looking forward to the Throwan Rocks thing breaking, cause now I know how to do it right.
Not to say we didn’t do it right with Trixter, but it shouldn’t have fallen apart like it did. But hey man, it’s the way that it goes!

You talked to Snake lately?
Yeah, the band are kinda in limbo trying to work out what to do. Sebastian is doing a side project thing with Kelly from the Breeders. I don’t really see him that often.

Okay man, good talking to you.
Alright, I’ll talk to you again later!

 


c.1997 Andrew J McNeice

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Tue
07
Feb

Neil Kernon - Record Producer (Industry)

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Interviews

Producer Neil Kernon has been in the business for 30 years now. His credits include such Platinum acts as Hall & Oates, Kansas and Michael Bolton.

He also the main behind a few AOR classics like Aviator, Valentine and Autograph.
In the 80's he turned to hard rock and had great success with acts like Queensryche, Dokken, XYZ, Lynch Mob and Helix.
In an interesting look behind the scenes, read what Neil had to say to me a short time ago...


How did you start off in the business?
My first job in the biz was in music publishing. I went straight from high
school into the professional dept. at Essex Music in London.

Who introduced you to it?
Well, as they always say..it ain't what you know, it's who you know. The
owner just happened to be the next-door-neighbour of my Dad's best friend.
So he asked him if he could help my Dad out in his quest for openings for
me in the music biz.

You play piano and guitar....did you initially start your career in
engineering as a musician?

I started my career in life as a musician. As both my parents were
musicians, I was naturally encouraged to do the same and I started playing
piano at age 4, and after that I started guitar at 7. Along the way I also
dabbled in the usuals, recorder, clarinet, sax, drums, flute etc.

What made you want to get behind the desk?
Well, you have to understand that I never had any intention of getting
behind a desk at all. After about 9 months in music publishing I realised I
wasn't hearing enough music. Here I was in the music biz and my job was to
coordinate sheet music and songbook publication. So after a very fortuitous
lunch/chat with a couple of world famous producers who had offices at Essex
Music (Gus Dudgeon and Rodger Bain) I left Essex and wrote a letter to
Trident studios, also in London, which they had recommended as their
favourite studio to work at.
After 3-4 months and 3 interviews I got a job as tea boy. Within 6 months I was working as an assistant engineer, and then onto engineer. First of all, I'd like to just say that I see engineering as either a pure art form or a means to an end. I never had any intention of learning about sound, but merely wanted to be involved actively in music, whether it be playing in bands, playing sessions in the studio or working on making records. I don't consider myself to be an engineer in the true sense of the word (although I DO record and mix my productions
myself). Instead I 've focused much more on production for the last 20+
years as it is a really rich experience and there is so much more to it
than twiddling a few knobs.

What was your very first project?
My first assisting job was on a Canadian hard rock album. A band of Hell's
Angels called "A Foot In Cold Water". My first engineering job was for an
English band called "Charlie". My first production was for another English
band called "The Flicks". Bet you never heard of any of them. :-)

You have one hell of a resume! What period was the more rewarding for you? The 70's or hard rock dominated 80's?
Cheers for that. To be honest, I have no favourite era. Musically however,
I'd have to say the 70s were much more organic and honest. Artists really
made a big effort to be individual back then. The 80s for me became rather
predictable and bandwagonish, especially towards the end of the decade.
From a technical viewpoint, the 70s were certainly more challenging as
technology wasn't that good, and everyone concentrated on getting things as
clean and noise free as possible. In the 80s we had more toys, more gadgets,
but in my opinion, less inspiration (musically). And then along came
digital in the 80s making everything far too clean. Now we all went back to
analog again. I never left...

You worked with Hall & Oates on several occasions. I have always been a big fan of their sound. Can you claim any credit there?
I'd like to think I can. I got a call from Tommy Mottola (their manager at
the time) who said Daryl and John were looking for someone to work with on
their new album, and were looking for someone who made punchy hard-edged
records. My name had come up, so I got a call. I had been making punk and
new wave records for some time and Daryl was really into all that. So we
did the Voices album together, and it all took off from there fortunately.
I went on to do Private Eyes and H2O with them too.

How did those personalities work in the studio? Daryl Hall I guess has some sort of a control reputation....
Actually, there was a good balance in the studio between D&J. Daryl is the
type that gets antsy, smokes a lot, can't sit still type..but he has a lot
of ideas and the trick is capturing them while they are fresh. I think I
got pretty good with that over the years. John on the other hand is very
thorough, keeps his feet on the ground and generally provides the stability
for their relationship. I think it's fair to say that they have always
seemed to do much better when they worked together than when they worked
separately.

And Private Eyes got a Grammy nomination in '82 and in '83.
Did they take you to the shows?!!!

I believe all 3 of the Hall and Oates albums got nominated, but none of
them won. And we didn't go to the awards either!!

What was a highlight of working with the guys? How about a low, if any?
Three great magical albums, songwise. No lows at all. A great time!

The first Streets album is somewhat of a classic these days. Mike Slammer is himself an experienced producer these days. Did you show him the ropes while you recorded that album?
Mike Slamer was the guitarist in Streets. At the time he had not done any
full-on production, but had worked on a couple of albums with Mutt Lange as
his producer when he was in City Boy. He had a clear idea of what he wanted
and a good ear. I don't think I showed him anything new.

Michael Bolton's Everybody's Crazy is also considered a classic! In fact it
is described as the definitive Bolton album.
How did you get involved in this album?

Well, I got a call from Michael's manager asking me if I'd be interested.
I'd heard Fools Game and liked that, so we met and hit it off straight
away. Michael was one of the funniest people I've ever met.

Bolton used to be a great singer and possibly still is - was his decision
to sell out his rock roots purely for the dollar?

It's hard to say. We all do things for a reason, and I think Michael simply
must have seen that by softening his approach he could have more success.
He did well with some jingles in NYC, and then his "new" career blossomed
with the re-release of "Dock Of The Bay". Good luck to him I say.

What do you think of him leaving his Self Titled album and Everybody's
Crazy off his resume? Bit rude I think!!

Haha. Well, I do know that Michael didn't want to re-release these on CD
for fear of confusing and potentially turning away his new found
"middle-aged" fans. We had the same manager for many years, so I got this
gem straight from the horse's mouth. Definitely a shame, cos they are both
good albums, if a little dated sounding now.

You were involved with one of hard rock's most volatile combinations for
many years. George Lynch and Don Dokken.
How bad did the fights get between the two - have you any funny/interesting stories of the two?

Let's just say that there were some very funny (and sometimes alarming)
moments. By the time we did BFTA I simply had to ask Don not to be around
while we did the rhythm tracks, because George would simply get up and
leave, halting all progress for the day. Most of the time he didn't show
up, but when he did, sure enough, there goes Mr Lynch.

Did you get involved in these fights at any stage?
I tried not too, but it was unavoidable at times. I had to try to keep
everyone happy, and considering those two usually wanted the opposite
thing, that got tricky.

Do you see them at all around anywhere these days?
I haven't seen Don since the last day of BFTA. I saw George more as I lived
in Arizona for a while, and I also did a lot of work on the first Lynch Mob
album. Once you got to know George he was great fun, and such a wonderful
player too.

What do you think looking back of the albums Under Lock And Key and Back For The Attack. Under lock And Key is again heralded as the band's peak period...
For me, Under Lock And Key is really too tame. I loved the fire of Tooth
And Nail, so I thought the writing on ULAK was a bit subdued by comparison.
The band was starting to fight internally by this time, so I think some
focus was lost. BFTA on the other hand has a tougher writing angle, which I
really preferred. Also George has never played better than he did on that
album, in my opinion.

The first Heaven's Edge album was good, but recently demo's and unreleased material was shown the light of day via MTM Music.
You were co-credited as producer, as some of the material was unreleased
from the debut. I thought these unreleased tracks were better even!
Do you as producer have the final say on what makes the album?
Or is it a blend of the band/producer? Or even only the label's say?
Or any combination of the above - what I am asking is can you detail the
process of selecting tracks with some of the artists you have worked with...

Lots of questions here. First, I think one or two tracks were outtakes from
the original sessions. I also mixed some demos they did, some of which may
also be included.
As far as what goes on the album, I think it's usually a joint decision of
the band, producer, label and management to put together the strongest
possible representation of the band at that time. Every album has a
different set of criteria that shape what you're trying to say with it. For
example Queensryche's Rage For Order was an album we planned out every step of the way. We made sure certain songs would segue well into others right
from pre-production This was very important for the mood and storyline.
Generally, I'll take a 75% final sequence to mastering, see how it flows,
and make those last few % of decisions right there and then.

Autograph's Sign in Please was another good record you produced. Any
stories from working with Steve Plunkett?

Not really. Great bunch of guys. Steve used to drink Ten High (bourbon) and
pace furiously when we did vocals, Steve Lynch doubled every solo and Keni
smashed a lot of beer cans on his head. That's about it.

Yet another band you worked with for a couple of albums is Queensryche.
You worked on their debut EP and Rage For Order.
Do you approach bands like this - a somewhat more complicated sound - the same way you would someone like Hall & Oates?
Or how does it differ?

When we did the RFO album, we decided to record some extra tracks for
b-sides etc. One of those was Prophecy, which ended up on the CD re-release
of the Queensryche EP. I didn't work on the original EP at all.
I approach every album differently. There are certainly no similarities in
the way I produced Queensryche compared to the way I produced Hall and
Oates. The most important thing is to always maintain the integrity and
individuality of the artist. I really do not like soundalike bands/artists.
So often I'll try a different tracking technique, mixing technique, drum
approach...layering/sparse production etc. Every project is a new picture or
canvas. I do my utmost to make it unlike anyone else.

Another classic debut is the Aviator release. That has recently found it's
way to CD! Any memories from that album's sessions?

Thanks. The guys in Aviator were all very good friends from the days when I
was living in NYC. We did a lot of writing together, and loads of demos
too. I think I ended up co-writing 5 songs on that album..loads of fun!

And any memories from the sessions for the tracks on Helix's Wild In The Streets? That was one of their
best albums I think....

Well...the original plan on that album was to have 5 producers each
produce 2 tracks. I chose "Wild In The Streets" and "Give Em Hell". After
that I think they just decided to do the rest with Mike Stone (another old
ex Trident alumnus). It was pretty fast and furious..2 songs in 3 days I
think.

You made several albums for Columbia records there at one stage (Heaven's Edge, Britny Fox, Valentine) Did you have some sort of a development deal with them?
Heh, good spotting. Actually, I didn't have a development deal with
Columbia, just a very good friend in the A&R department who was a big fan
of my work, so we did a few albums together sort of back to back.

Does something like that pay well?
Wish it had!

Ok - here is your chance to blow the lid on the metal factory that was the
80's! Who got the most money?!!

The label (obviously) - how about the band and the producer and the studio's? How did they all fare?
Well, the label always gets the most money, which is fair in a sense as
they usually put up the money in the first place. Of course, if a label
buys a finished product, different factors will come into play in the deal
structure.
Usually, if an album recoups the recording costs, the band/producer all get
royalties. This is calculated at a rate you've negotiated previously.
Studios generally got paid by the day or by the hour, same as now.
Sometimes a studio will front time to a band and then sell the finished
product to a label, thereby acting as a sort of production company.

Was there some sick amounts of money going around back then?
I think bands like Metallica and Motley Crue saw their fair share of millions.

I thought Valentine was a near miss as far as a hit band....
We all had high hopes for that album, but sadly nothing happened with it.

Can you offer any thoughts on what is the difference between a band that
makes a million and a band that never quite breaks it?

Well, timing is everything. You can have the best album in the world, but
if it comes out when no-one wants that kind of music, it'll just die. A
good example of a band that almost did nothing but ended up doing very well
is White Zombie. Their first Geffen album was dead in the water for a while
until Beavis and Butthead decided to put it in one of their video segments.
The rest is history.

I would love to know of some of the more bizarre stories that arise when a
band is dealing with a record label?

You must have a few?!! Can I ask for the gritty details on a couple?
There's so many. I've been lucky in the sense that I've not been in the
middle of too many bad scenarios. I was in prepro with an LA rock band and
we were about to start recording. I got a call one morning, about 3 days
before we were due to start tracking. It was the bass player. He asked me
if I was sitting down, and then proceeded to tell me that the band had been
dropped that morning. We got together that day, had a couple of beers, and
made a plan to try to get another deal asap, keep the team etc. However,
this was in '91 and metal was on the decline. They never got another deal.

Here is another question that I ask in hope! There must be some gigantic
ego's in the circles you travel in.
How about a story or two there?

Yes there are, but you deal with them as best you can. For the most part,
there's no real problems, but there are always exceptions. There's usually
a reason why someone has a gigantic ego, and it's my job to find out what
that is and understand what makes the people tick. That way I can really
put a fire under them and help them do a far better job than they could do
on their own.

Who is the single biggest ego you have ever delt with?
I usually find that the bigger "problem cases" are the ones who haven't
had any real success, but are really full of themselves. I always meet the
people I intend to work with before I get involved with them, so I can tell
really early on if there's any weirdness. Same with drug issues.

What about just in the hard rock circle. Who was always difficult to deal
with?

I had very few bad experiences myself. And I really do prefer not to name
names.

What about who was the best to deal with and the most genuine all round
nice guys of the industry?

Well, I'd have to say the guys in Queensryche were great to work with. But
in my 28 years in the industry I've met so many great people. I'd like to
thank some of them. Walter O'Brien is one of my oldest friends. My
management - Hernando and Doreen Courtright are terrific. All my friends in
A&R.....Hi Mum!! Just kidding...

Can you offer any suggestions why the metal scene imploded and seriously came close to being wiped out altogether?
Yes I can. It got pretty lame by anyone's standards. By the late 80s there
was hardly an original band left. It was really o good thing that the
labels cleaned house in my opinion. However, it's now time for it to make
a long overdue comeback.

So what are you working on right now?
Well, I' m doing a lot of things. I'm VP of A&R for 2 labels. I'm also VP
of New Technologies for a multimedia corporation. We're putting together
some great music for videogames. I am also the in-house producer for the
labels I work for (M3 and Slipdisc). I've been producing a variety of bands
from very technical metal to jazz to heavy industrial. Recently, I did albums with Nihil, N17, Rorschach Test, The Clay People, Sacrifice Isaac, Final Cut, Nevermore and Spiral Architect. I am going to Italy in April to work with Death SS, then back to the US to do a new N17 album, a new Rorschach Test album, an album with the Chicago death metal band Macabre...the list goes on...just keeping busy.

Has there been any or many approaches from the good old hard rock bands, or are you more with indie or 90's bands these days?
Not really good old bands. Not too many left now. I work with anyone I want
to work with (hence no real categorisation) as long as I absolutely love
the music.

Any chance of working with someone like Dokken or Queensyche again?
Dokken..probably not, although I'd love to see some of those guys again.
Queensryche need a real shot in the arm. I'm hoping their new guitarist,
Kelly Gray, who is also a producer, can help them get back on track. We'll
see. I wish them luck. They're all great guys.

And at the end of the day - what has been your favourite ever project you
were involved with?

For years my favourite was RFO. Then I did Cuatro by Flotsam and Jetsam,
which I was really happy with. The Skrew album I did was nominated for a
Grammy, and I loved that one. I also like the way the Rorschach Test album
came out, and so far the reactions to the new Nevermore are really strong
too. However, once I've finished working on an album, I really tend not to
listen to it for a while. You just get too close.

And least favourite?
Hmm....thats tough. I could say I have a bad taste in my mouth from a
couple of experiences, but you learn to take the rough with the smooth. I'm
not the type of producer that says "It's my way or the highway" so I don't
alienate people immediately. However, as the person who has to keep up the
momentum and stuck to the budget, there are always times when you have to
stop something going off the rails or taking way too much time. This sort
of action makes you unpopular. I've had 2-3 weird experiences out of 200+
so I can't complain.

 

 

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