Tue
07
Feb

Toto - Steve Lukather (1998)

Categories: 
Interviews

Hey Steve!
Hey, what's happening?

Not much actually, what about yourself?
Just sitting here playing my guitar.

Cool, thanks for taking my call.
No problem man.

So what did I catch you in the middle of, in the studio?
I am just about to start something. Some weird project for John Kalodner. Actually it's a Christmas thing. Christmas in April!
You have to do these things way ahead!
But I am doing a track with the Lobotomy guys, Garfield and Phillips. We are doing a strange version of Chestnuts Roasting On The Open Fire, but kinda how Metallica would play it or something.

Sounds different!
Yeah, we're just having fun with that, and writing songs for a Toto album we are supposed to start recording in the summer. And I am trying to finish the Jeff Beck record, but who know's if that is ever going to get done.
We haven't done anything on that since the end of October, stuff needs to be done.
He takes 10 years between albums, now I understand why.

I heard that you had taken up with John Kalodner.
He is a really good friend of mine, he has been a very big supporter of me and my career, and all that sort of stuff.
He is going to walk us through the next Toto record, we are going to go back to the original concept of the band.
Stylistically speaking. Over produced, super obnoxious, stuff the critics will hate.

Great, stuff the fans will love!
Yeah, you know, five part harmonies, triple guitars, all the stuff that pisses them off.
Sort of making fun of ourselves, but making fun of it.

Good, piss them off then.
Yeah, we've got the this record coming out next month, that is 20 years of unreleased material.

Yeah, I have the track listing here. It looks good.
It's quite a good record. I am actually surprised, we dug up some cool shit.
I am listening, and going fuck, why didn't we put that on the record?!
Some of it was unfinished, so I would throw a guitar solo on that was missing, or some background vocals that were missing.
Most of it was already done.

Where have most of the songs come from?
We have got hundreds sitting in the vault. Some great stuff with Jeff Porcaro.
For Jeff fans, this will be the record to get.
It goes through most incarnations of the band. Stuff with Bobby, Jo, and a lot of stuff with Dave singing. There are a couple of live tracks on there too.
Even some from our first original demo. We haven't touched them up at all.
We have done some cool liner notes too.
Other than that, I have a bunch of stuff to produce and work on, life's pretty good at the moment.

You are a busy guy - you seem to play on a stack of records each year.
You know, I am not doing that too much anymore. I do one or two, but nothing like I was doing 10 years ago.
I would rather do my own projects, you know, solo records and Toto, and write and produce for other people.

I am a big fan of your solo records.
Thanks man, I wasn't too sure if you were getting that stuff in Australia.

No we're not, but it's all available on import.
Well, you know, we get no support whatsoever from our Record Company down there. Sony kinda shits on us there.
So that's why we can't afford to come down there.

Yeah. It has been about 6 or 8 years since you were here last.
We get no support from the record label, and most promoters think they are going to loose their ass. Very conservative.
A lot of people I know haven't even been there before. My bud Eddie is there soon for the first time.

Yeah, I have my Van Halen tickets right now. Be here next week.
Ed and I are like family, you know. He called me up from Hawaii this morning.

He played on your first solo record.
Yeah, that's right! I sang backgrounds on their records.
They are the last great rock n roll band left, except maybe for Aerosmith.
At the end of this decade, they are going to flush the toilet on the whole 90's style.

Good!
Yeah, it's like okay guys, this was the decade of lets play and sing bad.
There was some great stuff too, but it was hard to get through a lot of it.
Maybe because I am 40 now, not 20.
My kids play me a lot of stuff. And my girlfriend, she's like 26!
There is just so much that is forgettable. None of them will have long careers. It's like they will break up or die!
They won't get a gig with someone else, because they don't know how to play.
That's not being crusty of cynical, it's just the facts.
Ha ha. When the media picks up on that it's not cool to play that kind of music again, what are they going to do?
I watch this MTV shit, which I really hate. They have single handedly ruined the entire art of music. Turned it into a huge fucking McDonalds commercial. No imagination at all.
I remember they way it was, when you used to look forward to digging a new album, a big album, a LP you know! You didn't need a magnifying glass to read the album credits.
You used to think, wow what were these guys thinking of when they recorded this, and maybe if you were lucky, maybe once a year you saw them live.
Now it is shoved down your throats so much, that people just don't care anymore.
It's like, music, oh yeah…great.
What is going to happen now, though, is that it is going to change. It's time.
I am looking forward to it.
I have survived three decades in the music business.
What's cracking me up now, is the return of the 80's! Like disco came and went again. It just shows you that there is nothing new, it's just dressed up differently.

What about the style for the new Toto record, you say you are going to go back…
Yeah man! We are just going to do what we do best, and be real obnoxious about it. Over the top production you know. Lots of synthesizers, guitars and solos, percussion and all.
At the same time as making a good record, we are just going to take the piss out of ourselves.
John Kalodner is going to be involved, and check our choice of material. He has done a lot of good for bands like Aerosmith and Journey.

And what about the vocal duties?
Well, I think we might throw it around a bit. Dave is going to do some, I will do some, and who knows, you might see an old familiar face or something like that.
It all depends on how this record goes, this new old record.
We are all going to get together and go to Europe, if it all works out, with Steve Porcaro, Joseph Williams and Bobby Kimball. We are going to play a few secret shows to just see what happens.
We have buried the hatchet, nobody is mad anybody anymore. That was 15 years ago, what am I pissed of at, you know?

Just get over it, eh?
Yeah, like come on, life is too God damn short.
To be honest with you, I am just really happy to be making a great living still playing music.
I am in my 22nd year of making music.

Is that right?
Yeah, I have just turned 40, and life is good to me.
I get older and my girlfriend's get younger.

Ha ha, so how many records have you played on then?
They tell me between 600 and 700 records.

Are you serious?
Yeah!

So there isn't much chance of me getting the entire Steve Lukather collection then?
Nah man, why would you want to?!

Ha ha ha.
No man, seriously, some of it's crap, you know. When I was just a session man, I was doing something like 20 sessions a week, I didn't even know what record I would be playing on next.
Hence the years of drug abuse!
I would get so fucking bored playing on all these crappy records, it was like 'wow, I got to get high or something here'.
Don't get me wrong, it was a great time to be playing. Even if you were on a shitty record, musically you would be playing with the best cats in the world, so we had some fun, we tried to make the most of it, and give it out all, but it was very forgettable stuff a lot of it.
The great ones were the great ones, and they still hold up, you know.

Some of your singers had problems with substance abuse, didn't they?
Well you can't do that shit, and sing man! It's as simple as that. Anybody that has ever done that shit will tell you that.
Really it isn't good for anybody, but at the same time, if you are a singer and you do something that numbs your throat out, and you scream because you can't feel it, and you trash your voice and can't sing anymore.
That's like me sticking my fingers in fucking acid and trying to play.
Eventually you won't be able to do it anymore.
But all the guys have got their shit together, and they are clean and they don't do it anymore.
I like to drink and have a joint, I am over 21, my kids don't know that, but hey!
I went through a period where I was completely straight, not a drink, nothing, about 8 or 9 months.
I said, well that was cool, I can do that, I will have a little drink and hang out, that's cool.
There was never a point that I was blowing it or something, it just became a pattern, because everyone around me was doing it around me.
You don't really realize, it creeps up on you. It's when you start feeling shit all the time, it's time to chill.
But everyone that lived through that era was into it, and if they say they weren't they are lying.
Ha ha - or a freak of nature. I am just glad I have missed the heroin decade, the 90's. That shit you don't mess a round with. Apparently it is one of the best high's, but I have seen it destroy a lot of people.
The drag of it is, they make it cheap and affordable, so the kids can get into it.
So fuckin' stupid.
But you know, my daughter is going to be 13 soon. Don't think I am not thinking about all this. The advantage is I have lived through it, and I can recognize the signs. I have a brutally open dialogue with my kids.

That's probably the best way to be.
Yeah, they are going to do what they are going to do, so a lot of knowledge helps.
Anyway, enough of that shit, what else do you want to talk about?

Well I have a buddy of mine here who is a mad Toto fan, so can I put him on to throw a couple of questions at you?
Yeah man sure!

How's it going Steve? Richard here.
Hey Richard, pleasure to meet you.

I just have a couple of general questions I would love to ask you.
Sure, shoot!

Who is your favourite vocalist singer, who would you would like to jam with?
Oh man, there are so many great ones.
Peter Gabriel, Steve Wonder, Paul Rogers. Aretha Franklin, people like that, real singers.


I heard a rumor that you may produce Def Leppard?
Ha ha, here's the story with that. I am not producing their next album.
Rick, the drummer, is my next door neighbor, across the street, and we used to hang all the time.
At one time he and Phil come down to my studio and we talked about maybe doing a track or two together, but it never materialized.
And they are in the studio with some one or other, I haven't seen him for a while.
I love those guys, and that was that. Rick's a good friend. We all come from the same place.


So living next door, you have an instant jam session when ever?
Yeah, it's interesting, my son play drums, and Rick used to have two drum kits set up and he would go over and jam with him.

That was my next question actually, wondering if your kids have picked up any talent from their dad!
Oh yeah, my son's a drummer, and my daughter play keyboards and sings her ass off. She plays a little guitar also. She can play anything she wants.
She's going to be thirteen soon, I am about to have a teenage daughter, how fucking scary is that?


One question that has always bugged me - the Toto sword/rings logo - who came up with that?
I guy called Phillip Garace came up with that. He also designed the Grateful Dead's logo - the one with the skeleton playing the violin.
He also did the penguin logo for Fleetwood Mac.


Another question, do you see James Newton Howard much?
Well he writes scores for every 'A' movie coming out of Hollywood. He is even up for an Academy Award this year.
I haven't talked to him for a while, about a month ago. He misses the rock thing occasionally, but doesn't need to do it.


Well it has been a pleasure talking to you Steve, thanks.
It has been a please also mate.

Hey Steve. I have a couple more things to throw at you.
Are you still hanging out with Brett Walker?

Brett! I really want to do something with him at some point. We just can't seem to get it together. You know he is a really sweet guy, very talented. I hope he gets the break he deserves. Really cool music.
We keep threatening to write a tune, but not yet. We spent a little time together last year.

Yeah, he said you were a very cool guy, and it was great to hang out for a while. He said it was a real honor.
Oh shit man, I ain't no big deal.

Do you see Fergie at all anymore?
Shit I haven't seen him in years. Last time I saw him was in Minneapolis in '93.
I have no bad feelings or anything, he's a nice guy.
He didn't have a substance problem. He was freaked out in the studio man.
He could not sing in the studio. He was fine live, once he learned it he was fine.
But getting a vocal out of him in the studio was really like pulling teeth.
It became incredibly frustrating. It would take like weeks one on song to get a lead vocal.
He is a great singer, and maybe he isn't like that anymore. We were too impatient I guess, and the more we pushed him, the more freaked out he was and the worse it became.
He was kind of a nervous guy, and he lost his voice out on the road a lot.
I don't why.

Do you enjoy the singing live?
Yeah it's cool. I have gotten quite used to it. I haven't lost my voice once, because I take good care of it.
It doesn't freak me out at all anymore. I wouldn't mind sharing it around a little though. I don't have a big ego, you know, whatever is best.

On the 'Absolutely Live' album, you have shared it around a bit.
That is my least favourite record. Don't listen to that record at all.
I don't really listen to any of my records though!

My favorite is probably your debut solo record. I paid around $40 for that.
Why is that? You should be able to get that through Sony at the same price as anything else.

Yeah, it was import only at the time.
Fucking record company! We still sold like 20 million records, and they are embarrassed that we are on the label.

Hopefully Kalodner will be able to turn things around for you.
Yeah, there is stilll a stigma that surrounds the band. Each territory has a choice to release it or not. Even though they are supposed to they don't.
Get us in a non English speaking country, and we are huge.
We have been the band to hate for 20 fucking years!
The only person that has to take more shit than us is probably Michael Bolton!
They have just about killed him here too. He's just about over.

The negative press is catching up?
Yeah, you like to think it doesn't, but if people keep reading how un-cool something is, then…
Everyone wants to be cool!
The people that like us really like us, and the people that don't, really hate us a lot.

When are you going over to Europe?
I am going over twice to promote this record. Once in April myself, then May 26 I think, we are all going over to play.
All of us on stage together for the first time in 20 years, it will freak people out.

That will go off!
Well, I don't know if it will be any good or not! Ha ha!

And the next studio album will be out when?
Starting it in the summer, and finish it toward the end of the year. We will be on the road through 1999.
We would love to get down there. I had a great time last time I was there.
Supply and demand. You guys are a long way away.
It costs us like $60,000 just to get out gear down there. We don't show up and play on rented twin reverb, you know. We are sticklers for the sound.
A lot of people just got out any play along with their record, you know! Really scary. People that mime the lot.
I have seen people with all this digital shit behind the stage, and I go 'Well, what's up here?' and they go 'Well, we can't pull this shit off live!'.
There is a lot more Milli Vanilli going on than you think. A lot of people don't even play on their own records!

Alright Steve, thanks for talking to us.
Sure man, I gotta blow, great talking to you.
Bitchn' say hello to everyone down there, and call up our record company and bug them!

Very cool! Will do.
Byeeeee.

And that people, was Steve Lukather!

 
Tue
07
Feb

Jack Blades - Interview 3 (1998)

Artist: 
Categories: 
Interviews
Hey Jack, what's happening?

I'm just sitting here waiting for you to call!

I appreciate you taking the call Jack.

I just want to touch on Neverland for a minute. Last time we talked I had it on the way, but it hadn't arrived yet.
It is a bloody fantastic album!

Why thank you.

It is a very mature Night Ranger wasn't it?
Yeah it was. I think this new Night Ranger is more immature Night Ranger. Ha ha!

Great!
Yeah, this one is a lot more fun. I think you are really going to enjoy this one.

Neverland was a pretty serious album.
Yeah, this one is pretty not serious. This is a pretty fun record. The Japanese called me last night. They are flipping out over it.
They are really excited.

I am really pleased, and even surprised to see another album so quickly.
Well, so am I.
Actually we just got off the road, and I started writing a bunch of songs, and we thought well, lets go in and cut them.
And Zero said they would like another record. So we said okay, let's do it right now.

So the band must really be smoking right now.
Actually, if you think about it, we are releasing about one year from the last one. Which is really amazing!

I just wish more bloody bands would do the same these days.
Yeah, it normally takes two, three or four years. It's a joke.

Absolutley. Trends come and go between records.
It's like the old days, where The Beatles put out records every six or so months. Know what I mean?

Even you guys - in the early days '82-'84.
Right, right.

Yeah, a tour an album, a tour, and another album.
Right.

I guess you can burn out on that after half a dozen years or so.
I think so. This time around it was a lot of fun doing it this way.
We got an engineer by the name of Noel Golden, who mixed Sammy Hagar's last album 'Marching To Mars'. That's who we brought in as an engineer, but he did such a good job, we decided to have it a co-production thing.

There is a Rolling Stone interview you did. Brief, but you said press in 'American doesn't give a shit', but you are glad to be doing it anyway.
Yeah, so true.

I didn't recognize the producers name.
Yeah, he is more an engineer. He is from Canada.

And you guys know what you are doing anyway, eh?
Yeah, we've done a few of these before!
It's pretty easy for us to make a record. And we did it up here in my studio.

I was going to ask if you recorded on the Ranch.
Yeah, it turned out pretty nice.

I have a few of the tracks here. The track 'Let Him Run' pops up.
Yeah, yeah. We did 'Let Him Run' with Fitz playing the keyboards.
Instead of Jeff playing the guitars, we had Fitz play the keyboards.
You know, the Japanese love that shit.

They sure do!
They love remaking stuff. It is kind of neat. It turned out really nice. Kelly sang it. It seamed much more like the way we perform it live, which I personally enjoy.
Makes it sound fresh again.

The other thing this Rolling Stone blurb said, was that you wanted to ship 'Panic In Jane' to radio without the band's name on it - to eliminate any pre-conceptions.
Yeah, that would be something interesting.

Cool song?
Very cool song.

Different for Night Ranger?
Different, yet definitely us.

Can you describe the overall sound of the '7' record?
Well the sound of the album is much more rocking than the Neverland CD. It is much more like in your face rock n roll.
The songs like 'Panic In Jane', 'Kong' and 'Mother Mayhem' - those three are probably my favorites.
'The Sign of The Times' is a real, like furious straight ahead rocker, like 'You Can Still Rock In America' type song.
And um, 'Sea Of Love' is a great rockin' tune, straight ahead, a real pounder.
But the album rocks a lot harder. It rocks more than say the 'Neverland' CD, because we simply wanted to make a raw straight ahead, in your face record.
The last album was very precise and perfect, and I enjoyed it, but I also enjoyed making this record.
It was different also having another person at the helm. Like I said, with Noel throwing all this stuff in the works, making this record the way we wanted it to sound.
It kind of wound up really nice.

Ron Nevison is a very technical producer isn't he.
Yes he is, where as this way, you would admire our adherence to low tech! There is no high tech on this record!

Night Ranger has always had the signature vocals, and 'Neverland' in particular had many layers of vocals.
Have you still retained those features
?
Oh yes, it is differently Kelly and I singing big choruses.
And you know, we brought up a friend of mine Jack Russell. He sings with Great White.

I am glad you brought that up. I was going to ask you about him.
Yeah, Jack came up for a couple of days and sang backgrounds on the whole album.
You will hear his voice in there a lot.
'Panic In Jane' and 'Kong' especially. He is a good friend, and said 'Yeah. I'll help out'.
Originally it was going to be Tommy Shaw, but then he started doing a solo album - which I have ended up last week in LA playing on six tracks.

Tell me how that came about.
Well, he was making this record, and wanted me to play on it. It was like song after songs and I ended up playing on over half of it.
Playing bass. Unfortunately I didn't get to sing on it, I was too busy and then I had to leave.
He is doing vocals now.

Almost a Shaw/Blades thing!
Almost, yeah! Which is nice, as I love the Shaw/Blades thing.

Who else plays on the record?
We brought in Michael Carabello, the conga player for Santana. He played some conga's and percussion on some of the songs.
That's very cool.
My friend Pat McDonald played some acoustic guitar on 'Mother Mayhem', we co-wrote that song.
He used to be in a band called Timbuk 3.
And Tommy, Mark Hudson and I did the background vocals on 'Kong'.
So it is pretty neat.

And it is out through Zero at the end of March.
Yeah, the album's called '7'.

The name was in question there for a while?
Well in Japan, it is our Seventh studio album, so we thought we would call it '7', and then we were thinking 'Panic In Jane', but he label wanted '7', so that is fine with me.
Maybe people will go in thinking they are buying the Garth Brooks album, and end up with the Night Ranger album. Ha ha.

They will get a culture shock when they get home!
Oh boy will they!

What about a US release?
Probably in the summer time. Early summer.

Looking pretty good to have Legacy get it out?
Well yeah, we are signed to Legacy, that's out Label.

Will they change it around like they did the last one?
It all depends. I gave them a song order.

I got the US version of 'Neverland', and found the running order much better.
It's much better. Much, much better.

I only found it a little strange to have 'Forever All Over Again' kicking off the album.
Well, Legacy wanted to focus on that ballad to take it to radio.

I think it was great adding 'Walk In The Future' to the record.
Yeah, that was on the Japanese EP.

You know 'Neverland' only got released officially in Australia in October of '97.
Oh, my God, really?

Yeah!
Isn't that funny! Here we are getting ready to do another album!

I ran into a mate I hadn't seen for about a year, and was filling him in on Night Ranger, saying you know, you had a record out, and he's going nuts, saying play it to me.
I just said sure, and they have another one out next month!

Ha ha. That's funny! Really!
This album is fun. I don't give a fuck what anyone thinks about this kind of music or that, as long as it's fun, that's what counts.
A good song is a good song, and there are plenty of them on the new album.

Cool Jack, thanks!
Well all right mate! You think you got enough?

Absolutley!
Hey - before you go, there are still rumors of Damn Yankees doing a record. What do you think of that?
Right now, there is a lot of talk between the people. Betwee the band members. We would like to do another.
I would think there is going to be another. I think it will be this year.
We could start work on it as soon as a month or two.
So anyway, I think that could happen!

That would be great.
Yeah, THAT would be FUN!

All right! Bye mate.

 

 

 
Tue
07
Feb

Jack Blades - Interview 2 (1998)

Artist: 
Categories: 
Interviews

Well, by now a lot of you have heard Neverland and given it you're verdict. But for the rest of you who haven't.....the good news is that it is coming your way in July. But for now, here is some more insights into the reunion record.
It was also time to get the lowdown on the Night Ranger rumour mill. So I called up Jack Blades to get a fill in, and while I was at it, quizzed him on each track from the album.


How's It Going?
Real good, the single comes out here June 9th and then the album comes out July 15th.

Great Stuff. What is the label you've got?
Columbia.

Is that right? Is John Kalodner in there somewhere?
John Kalodner is in the middle of it all. The new single was mixed by Bob Clearmountain. And we put a fifteen piece string section on the song 'Forever All Over Again', and had Clearmountain mix it, and it got mastered last Friday. Now we're getting everything ready, getting ready to do some radio promotion and all that kind of stuff.

Well I hope that will be big, it's a killer song.
Yeah, we're very happy. That's gonna go real good. Anyway Clearmountain mixed it, it sounds unbelievable.

Well, I thought you had a sharp sound with the Ron Nevison production!
Well, Ron did a great job, and the only song we re-mixed was 'Forever All Over Again'.

So you guys are counting on that being the big summer release over there, eh?
Yeah.
The new order for the album is Forever, Neverland, As Always I Remain, Someday I Will, My Elusive Mind, New York Time, A Walk In The Future, Slap Like Being Born, Sunday Morning, Anything For You, I Don't Call This Love.

And how about touring?
We are going to do a couple of weeks worth of shows in the middle of June, and then start touring hard and heavy in August.

How's the band doing now?
Everybody's very happy.

Okay Jack, a comment on each of the songs on the Neverland record.

New York Time.
Good rocking track, basically has a vibe of New York, stuck in traffic all the time, chaos and congestion.

As Always I Remain - A classic Night Ranger acoustic driven tracks.
Right, right. As Always is really one of the more Night Ranger type songs, you know, signature Night Ranger.



Neverland
Yeah, a great driving song, a real killer song. It's a love story, you know, I wrote it over at the castle when I was there, it has that castle vibe to it. It is a modern day love song, set in a kinda dream.

Slap Like being Born
Is a real kick ass rocker.

You have a southern tinge to it.
Yeah it's like a real good time American rock n roll thing happening with it. Man, sometimes you need a slap like being born , like when a baby's born, you need somebody to slap you on your butt, to breathe some air into your lungs, get a life, that's kinda what that songs about.

I Don't Call This Love
Sorta darker, it's what you want from a person but it's sure not what you are getting. What she's doing to you sure don't call love. You may think I'm strange but I don't call this love.

Sunday Morning - one of the killer tunes on Neverland.
It's really a kick ass song, it's about being with someone and waking up in the morning, and seeing what's been going on.

Anything For You
Kelly and I wrote that while we were watching the presidential election races, how those guys are liars and will say anything to get elected. That song is like 'promises promises step inside my head'

My Elusive Mind.
Just a good time fun song. A straight ahead good time. It's just about being crazy in the head, there is this woman who is going to help you out. It's just the whole idea that you're mind can wander, like when you party all night and you wake up in the morning with a hang over and the phone's ringing -it sounds like the devil singing. It's like 'oh God!!'

Forever All Over Again
A great sorta love song, about rediscovering somebody. Sometimes you let a person go, and you swear if you get her back you will never let it happen again, you just want to get that person back.

Walk In The Future
Is a bit of a dark song, about a girl that is kinda in her own head, you know, living in her own world. She needs to take a walk in the future, need to live her life.

Don't Tell Me You Love Me '97 and (You Can Still) Rock In America '97
We didn't do those on the American record, it was for Japanese only.
Yeah, over the years you play those songs so many times and you add little parts over the years as you're playing it, you think to yourself, gee I wish we would have done that when we originally recorded it, so we thought we would put all those little things in and put them on the Japanese record.

They sound heavier and tougher and rawer.
Right, right.
Okay Jack, what about the live album coming out?
Right, yeah, it will be out in July, we just finished mixing and mastering that.

What about the rumored Seven Wishes Live album, for the States?
Haven't heard of that one, that's a new one on me.

And I keep hearing that Ted Nugent has absolutely convinced himself to do a Damn Yankees album.
Yeah, that's the word out, that they want us to do another Damn Yankees record. Right now there are no plans to do it.

But you will be on board if there is one?
Well of course!! How could it be Damn Yankees with out me? Ha ha.

I totally agree!!
Okay Jack - thanks once again for your time. See ya.

 
Tue
07
Feb

Jack Blades - Interview 1 (1997)

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Categories: 
Interviews

In my opinion Night Ranger is THE American rock band. There are no other bands which typify the hard edged guitar, the anthem rockers, and the soaring ballads like these guys do. Their amazing harmonies stem from the advantage of having two lead vocalists, in bassist Jack Blades and drummer Kelly Keagy. The infamous guitar work is supplied by Brad Gillis and the eight finger tapper himself, Jeff Watson. The ‘man who put it all together’ for them, is keyboard player Alan ‘Fitz’ Fitzgerald. Together they have made some of the best American rock ever. Their classic albums ‘Dawn Patrol’, ‘Midnight Madness’, ‘Seven Wishes’, ‘Big Life’(especially Big Life!), and ‘Man In Motion’ have never been far from my CD player.
I talked to Kelly Keagy earlier in the year, about the ‘Feeding Off The Mojo’ project, and now have the pleasure of talking to Jack Blades, who outside of Night Ranger, has recorded

So what's going on Jack?
Yeah, they’re putting on a guitar part, so I won’t have to worry about it for a couple of minutes. We are in the studio now, I have a studio in my barn, here on my ranch, and we are recording the new Night Ranger record, and were doing overdubs, and so they are putting a guitar part on, so they won’t need me for a few minutes.

The first thing I was going to ask you, is what were you doing up a 7am?
You are obviously a busy guy!

Oh well, yeah, there is no rest for the wicked, Andrew.
I always get up early, I’m an early riser, you know, I just have so much on my mind, and actually, to tell you the truth, it’s very peaceful at seven o’clock. No phones ring, nobody bothers you....

Most of the time no phones ring....
Right, most of the time!!

And you are on a ranch are you?
Yeah, yeah, it’s Northern California, I live up in Sanoma County, up in the wine country of California.

I’ve been as far north as Marin County.
Yeah, I’m the next county up from that.
I’m about, like, 40 miles north of the Golden Gate Bridge.

That’s nice...
Yeah, it’s where they grow all the Californian wines, all the vineyards are all over....

So Night Ranger are recording then?
Yeah, we’re actually recording!

I heard the rumours! Who’s the album for? I heard it was a one off Japanese deal.
Well what happened, was that nobody was doing anything in the summer, and the guys called, you know, everybody started calling everybody up, some of the guys called me and said what are you doing, and I wasn’t doing anything, so we decided to get together and play some Japanese shows.

I saw the reviews, they were really great!
Yeah, yeah we did really, I mean Night Ranger was always a very big band in Japan, and um, it was so fun, and then all these Japanese record companies came and they started bidding for us, and one of them came up, you know, kinda outshined everyone else, they were a good company and all, so we went with Zero.

Know them well.
Yeah, we went with Zero Corporation, and so we actually started recording, last week we cut the basic tracks, we did that in a studio in Salsolido, and then um, on Monday of this week, we moved up to my studio, and we’re doing all the overdubs, and we have my producer, that did all the Damn Yankees records, Ron Nevison.

Great producer!
Yeah, he’s wonderful, so we hired him to produce this record.

He’s also done a few records for Zero
Yeah, the Schenker stuff..

And the UFO.
And um, I did two Damn Yankees albums with him, so I’ve known him since 1989 very well, and so um, I was real excited about the fact he wanted to do it and so we got him involved, so now we are all up here slagging it away.

When would you like to get the album out?
Well we are going to have it finished by the middle of January, and um, it will probably come out sometime in March or April, and we are going to go ahead and get distribution for the rest of the world.

I was going to ask about that.
The thing is I wasn’t sure where this was going to go when we first started it Andrew, and we have all become very excited about it because it’s a real, um, there are some amazing songs, and there is some great playing, and it’s gotten to a different level that none of us expected it to be, and so consequently it has changed the game plan for everyone. We are very excited about it.

There are a lot of people out there who want a new Night Ranger record.
Well I think that’s true, or manager is Miles Copeland, he manages me, so Miles is going to handle the thing, and get everything squared away so we can release it in the States, and throughout the rest of the world.

That will go down well.
I think so too, I think everybody will be very surprised when they hear the music.

Night Ranger is responsible for some classic tunes, there are a lot who have tried to copy your sound.
Well I think that they are going to be pleasantly surprised when they put this CD on, because of the way the songs are and everybody is playing, you know, nobody’s stoned or drunk anymore! You know, I’m not saying that was bad, but you know, everything has it’s place, and now it’s sort of like, everyone has, God, got a lot better! And with the original guys all together it’s kind of really fun.

Did you record any of the Japanese shows? You know they love their live albums!
No we didn’t record any of the shows. Hey here’s Ron Nevison now....Hey Ron, what do you want to say to your Australian fans? I’m doing an interview to Australia right now.
Hello mate!
You can quote Ron Nevison on that!
Ron says that we are carving out some new frontiers right now!

That’s great! I am putting together a web site, which this interview will be on also.
Oh really! Great. Very cool.

Were you aware that you actually have a Jack Blades page on the net?
No!

There is a fan of yours, a lady who has put together her own page with a bunch of photos of you.
You’re joking!!?

I’m not joking! I did a search and that’s what I found! You have a fan out there! There is a photo of her when she met you back in ‘83 or ‘84!
You’re joking! How did you, what did you search? Jack Blades?

Yep, into one of the search engines.
Ha Ha Ha, that’s very funny.

You will have to check it out!
So what’s happening with Damn Yankees? I heard something was going on there also, but I guess that’s on hold now?
Yeah, there’s nothing happening there at all.

Do you still see Tommy at all?
No.

So he’s back with Styx then?
Yes he is.

You guys wrote a lot of songs over the last couple of years for different people?
Yes, we have.

Do you enjoy doing that?
Yeah, from Aerosmith and Alice Cooper to Ozzy and Vince Neil, we’ve written some great songs. Actually the last few months I have written some songs with friends of mine who live in Nashville, that are being covered now by several country stars.

Well the Shaw/Blades songs would lend itself to that format.
Yeah, it kinda would, wouldn’t it! That was kind of like leaning towards that type of format. But it’s fun, you know, I write songs, you know what I’m saying. My manager Miles Copeland has a castle in the south of France, and we go over there like once a year he invites like twenty or twenty-one very well known, like famous song writers from America and Europe and we all converge on the castle, and for ten days we just sit and write songs together, and record them there. We’ve written some amazing things.

Wow! That’d be really hard then!!?
Oh its very cool. I was with Paul Carrack last, um, two months ago, and Carol King and Mark Hudson, some really good songwriters. In fact Mark and I wrote a great song called Neverland that’s on this record.

Any other titles for the album?
Walk In The Future, As Always I Remain, Slap Like Being Born....
That’s a killer song.
Mon Dye Nye, which is Japanese for No Problem, that’s a real killer rockin’ tune.
Sunday Morning, Someday I Will, there’s some great material.

What did you think of the Mojo album?
You know what, can I be real honest with you?

Yeah, yeah, absolutely. I would have thought from your point of view it would have been strange to see them doing it without you.
Well, let me be very honest with you, and I swear to God, this is the truth, and I’m telling you this because I don’t bullshit my life anymore.

Okay.
I never heard it. I’ve never listened to it!

Oh no, ha ha ha (laughs allround!)
And I think that’s probably terrible and probably Kelly and Brad would hate me for it, but I have not heard one thing from it! And to tell you the truth, I don’t really want to. Because it’s not really....,you know, this is Night Ranger. And they did their thing, and that was kind of a Night Ranger thing, however it’s kinda neat with all five of us together.

And ‘Fitz’ is back also?
Yeah, sure.

I ask because he kind of disappeared off the scene for a while.
Well he was playing keyboards for Van Halen, behind the curtain, you know. He was the keyboard guy for Van Halen over the last five or six years. You know, so when you hear all that Jump stuff, you know duh duh dah dah, that’s Fitz behind the curtain!

So when I saw them live a couple of years back, in Toronto, I really heard Fitz?
Yeah, Yeah!

My fiancee and I saw you in Toronto in ‘93.
Oh, with the Yankees?

Yeah, great show.
Was it that outdoors place?

No the small theatre.
Oh my gosh, that was a fun show! Was that with Jackyl?

It was, yeah, they go off live, eh?
Yeah, Jesse DuPre is a very good friend of mine. Yeah, he and I have become very good friends.

He’s a good laugh.
Oh yeah, he’s a great guy, he’s great to be with, we have a ball together. I just talked to him yesterday infact. Talking of very good friends, my son was over this summer with Ozzy’s, Ozzy Osbourne’s family because my son, Colin, has become very good friends with Ozzy’s son Jack. They invited him to England, he was in England for two weeks.

Cool! How old is your son now?
He’s 14, he had a ball!
Hang on a minute Andrew.....Yeah I’ll be up in a flash.....Yeah I promise! Don’t get me in trouble now Andrew! Ha Ha, I still got a few minutes.

What about Night Ranger albums? Have you got any favourites, looking back, now that it has been a few years?
I think the favourite for me would be, ah....the ah....the first one, you know, cause it was real raw. The first and the second album were my favourite. Although the third album......I like Seven Wishes! Shit I don’t know man!! Oh, hey! I know what I like, I know what my favourite Night Ranger album of all time, my favourite Night Ranger is Night Ranger’s Greatest Hits! hahaha

Oh right, yeah, very diplomatic there!
Hahahahaha.

My favourite from the band is Big Life.
Big life is a very good record.

The Shaw/Blades was a departure for you. Any plans to something like that again?
Yes, it was. It was a fun thing to do. Ted was getting ready to do a solo record, and the label wanted Tommy and I to do something. So they let us do whatever we wanted to, and it was really a fun thing. It was sad in hindsight, as Warner Bros made a big change in their upper personnel, and it caused that CD to kinda get lost.

I thought it did vanish quickly.
Yeah, my friends over there were Mo Austin and Michael Austin, Mo’s son, and when they left, and went over to Dreamworks, the new regime that was in there were a bunch of alternative assholes that didn’t want anything to do with us, and they didn’t want anything to do with Damn Yankees, so they bought us off. They owed us a lot of money, they owed us two albums, so they bought us off of the label.

That’s just typical!
Yeah, I don’t care, I’ve been through all that stuff before, I’d rather not be somewhere where I’m not wanted. There are so many songs in my heart.

Is there anything in the future that you have always wanted to do, that you may get the chance to do?
No, I probably would like to go to the pyramids, though! I’ve never done that! No I’m just enjoying it as it goes, I’m enjoying making this CD with all the guys, I’m really enjoying these songs, I kinda like, wherever I am at the time is where I love to be. I’m very happy.

So Night Ranger could be a permanent re-union then?
Um it’s hard to say. If everyone gets on everybody’s nerves, no! Hahahaha! You know what I mean!?

Yeah, sure!
Right now, we are having a fun time! And as you know, fun is the most important thing to have.

Absolutely.
If it’s not fun, then there is no reason doing it. That’s the way we look at it.

Yeah, definitely. Do you see a Damn Yankees album in the future?
Possibly, sure. I mean, yeah, everybody’s still semi-talking to everybody. You know, I talk to Ted all the time.

He’s a wild man, eh?!
He’s always threatening to want to do another one, and if everybody’s schedules collide at the right time, and if the stars are right, we’ll do something. Who knows.

What about what you are listening to at the moment?
I listen to all kinds of music, you know. I like the Van Halen, the new Greatest Hits, I love the Smashing Pumpkins, you know, Mellon Collie, I love that CD. I think that CD from President Of The United States is pretty cool, that new one.
Ah, the new Alice In Chains out and the new Ozzy record, and I can’t wait for the new Aerosmith CD to come out.

Me neither.
I think I wrote a couple of songs, I don’t know, but I wrote some songs with Steven and Joe for the new album. I’m hoping they’ll be on it.

Great!
Thank you Jack for your time.

Well Andrew once again I absolutely apologise for not, you know, it’s really not, I’m sorry about that, but I’m glad we were able to hook up now, I’m so glad you called me now. I was sitting right by the phone, I was just down here getting a cassette of a song, for Jeff that we gotta figure out a part on or something.
I was just walking by the phone when it rang, so that worked out really well. I am looking forward to reading this interview.

Yeah, I'll get it to you.
I’m in Tasmania, have you heard fo it at all?

I’ve heard of the cartoon!

Yeah, it’s the little island off the south east coast of mainland Australia.
Oh, really?

Yeah, there is 500,000 people here, so it’s not too small or anything.
Yeah, but you’re on Tasmania! That’s very cool!

The home of the Devil.
The home of the Tasmanian Devil. I like it already! I knew I liked you!

Hahahaha.

Okay, maybe we will get the chance to talk again sometime.
Well I’m excited about you getting to hear this new project, it’s awesome stuff.

Can’t wait! Hopefully I’ll be able to see you guys live.
If you need anything else, don’t hesitate to give me a jingle.

Thank you very much.
Allright mate! See you later! Bye.(hangs up)

Right on Jack, yeah I may give you a call when I'm in the area sometime!!!


C. 1997 Andrew J McNeice Back To The AOR HARD ROCK HOT SPOT

 
Tue
07
Feb

The Spinatras - Ross Fiedman (1997)

Artist: 
Categories: 
Interviews
So the Spinatras is a pretty big style change! From Heyday and Manowar to this - it's like a whole new attitude.
Yeah, Heyday was like, my thing into blues rock. But before that I was in Manitoba's Wild Kingdom, and then Manowar before that. And the dictators before that.
Every band I have been has had a distinct style change.

What is happening with the Spinatras? Is it coming out on disc?
We hope for it to come out on disc. We are dealing with a few major labels, and independent labels. I think it will be on a major.
I don't know yet, what exactly it's going to be.
There is a lot of interest.

Well it sounds good enough to be on a major.
You like it?

Yeah, it's got a lot of attitude. It pretty loose, groovy. Was it recorded live?
We basically recorded it live and added our little overdubs to it.
The rhythm track is always live, and I go in and do my little magical thing to it.

A good fun vibe to it this time. You guys really are having a lot of fun.
Right. The thing is, all the bands were so depressed. Everything has so much depression to it. You know, these guys are completely miserable!!
All of a sudden bands like No Doubt and Smash Mouth, you know, it's okay to smile and have fun again.

I have noticed that.
Rock n roll is really coming back, and Spinatras is part of that. We definitely rock, and four years ago, you couldn't even mention that word - rock n roll.
I really don't care what people think.
I have been making record for a long time, and I think this band is just the greatest.

It's very punkish.
Yeah, there is a definate punk vibe to it.

Michelle is a funny track!
Yeah, ha ha. You have to have a sense of humour.

Where are you guys based?
We are based in New York.

Are you going to do some touring?
Yeah, we are going to play around. We have already been playing around anyway.

Who else is in the band with you?
Okay, myself on guitar, then Rich Fazzio on drums, Ronnie Gerando on Bass, Brian Crawley on lead vocals.
He is my proteche actually. He is a really young guy, he's 24 years old. He really has a great knowledge of rhythm and blues, and music. But he is on the modern tip of rock n roll.
The cutting edge, or so they say!
And me, I don't really know where I fit in anymore!
After 14 records.

Is that how many you have made now?
Yes! 3 with the dictators, one with Shakin' Street, a French band, 8 with Manowar, the Wild Kingdom record….It just adds up.
And now the Dictators are going to make a new record.

So you are involved with that?
Absolutely! Why not!?
The Dictators have a following in Australia. We get tons of e-mail from there.
I really am looking forward to one day coming to Australia.
You hear so much about it.

Just going back a little, what happened to Heyday?
Well, we did our thing. We were trying to sell apples, when everyone was buying oranges. Our timing was not great.
If we came out two years or three years sooner than that, it would probably have been huge.

It got great reviews though. Did you manage to ship a few copies via mail order?
Yes we did. We did quite well with it.
People are still coming up to me with it to autograph.

Thanks for the update Ross.
You got it, bye!
 
Tue
07
Feb

Journey - Jonathan Cain (1997)

Categories: 
Interviews
Despite many of you probably thinking this was going to be another routine Q and A, and considering that Jonathan had already stated there were things he 'Could not discuss', I think the interview you are about to read will surprise you.

Jonathan was quite open and honest with his answers, and I think let a few things slip over the course of the interview. At least, for once, we now know where things stand with one of the great bands of the era.


So how are things!
Oh, pretty good.

Journey is still regarded today as the cornerstone of the AOR genre.
People have said that, and we are flattered that people are still enjoying our music, and it's pretty cool that the records are continuing to do well.

Congratulations on Trial By Fire.
Yeah, we like that very much. It was kinda a labor of love. We just got together and wanted to do it the way we thought we should do it.
We thought there was a kind of a void there.

I think it's a great album.
Thanks.

Something I did notice about the album – everybody gets to shine somewhere.
Yeah, we tried to do that. We really thought about featuring everyone this time.
You know, everyone has played so much on their own, as solo artists, it seemed almost like we had to go that way.
And yeah, I don't think there were too many solos. There was a lot of guitar solos on this record, but Neal had a lot to pay.

They blended in so well. And you had a couple of fantastic keyboard/piano solos.
Thanks, yeah. We had a really good producer this time in Kevin Shirley.
He was stunning. He had a lot to do with the arrangements, and we worked hard with him.
We were done with the basics in about two and a half weeks. It was pretty amazing.
It was all live, we played live at the site. We had these isolation rooms for the drums, and guitars and keyboards even. But we could see each other and played live. Most of the record you hear is live.
The overdubs are just little things here and there. You know, like backing vocals and a lot of the vocals.
Steve kept some of the things we did live.

Disappointed you haven't been able to tour on the back of it?
Yeah, it's been frustrating for us. It's because of unforeseen events. Sort of like the hand of God comes down, and has hit Steve with arthritis in the hip and in the neck.

What actually happened to Steve?
Well, it (the arthritis) just really attacked him. And it has taken his hip and swollen it up and the joints and everything else.
So that's really it. He has gone for therapy to try to get better. To have surgery would really be ideal, but I don't think he's ready for it to go to that extreme.

That is pretty drastic.
Yeah, and you know, it's not getting better. It's like Eddie Van Halen needs it too.
The only way he will go out is with a real hip, so go figure.
If you really want to do it bad enough, you know, you get it done.
It has been over a year now, and he hasn't gone and got it done. And It's his body and we can't say anything about it.
It's frustrating for us, because we were sort of left at the alter with the dress on.

That's what I am hearing.
Yeah, frustrating, but it's an act of God, and what are we going to do.
We are just disappointed that we missed out on some great opportunities.
The album is just part of it. Just a small part of it.
We could have sold four times the amount of records. It came out, then nothing much happened.
We just didn't want to disappoint the fans. I think, number one is that we knew there were a lot of our friends waiting for us to come, and I think that is the most disappointing thing.

A major part of the e-mail and feedback I have received is why hasn't anyone been able to find out what's going on.
Well, he hasn't come forward. You know, we tried to get him to come forward with some television and talk about the problem and what he is going through. Just share it with everybody, tell the fans what's up and come out and sing a little bit. Sit on a stool or something, and tell people what's going on.
We had an opportunity to all these television programs and he passed on all of them, the American Music Awards and everything.
It was really sad.
We all wanted to do these things, but we couldn't. that's the end of that, and I don't know what we are going to do now.

That's the rest of the questions. What's next?
We are in limbo really. That's all I can tell you.
We are all doing solo projects, and you know, everyone is just moving on with their life.

It took me about 6 months just to get that out of Irving Azoff!
Everything has been really secretive.
Well, we have been waiting for something to resolve, and see what Steve should do. But you really can't force somebody to go that way.
There is enough pressure on him as it is. You know, the record company has put the pressure on him. We just leave him alone.
We feel sad for him, but jeez, what are you going to do?
It's his life, his body, his thing.
You go to a certain point, and go what do we do now?
We are going to have some meetings and so forth.
But there has been talk about possibly a live compilation from '81 to '87. Some of that stuff. The stuff the box set didn't get. There was a lot of neat stuff just sitting in the can. People have been asking about live Journey, so we thought we could do that.
Sort of put that out in the interim, and maybe we can come up with a plan.
That's probably what's going to happen next. We are moving towards that.
I don't know what else to tell you. It's frustrating.
I have another album coming out in Spring, that's a new age album.

Is that 'Songs In The Key Of The Heart'?
Yeah, actually we changed it. It's called 'For A Lifetime' and we are just fixing to get the cover ready.
It's a wedding album for lovers and so forth. There is an instrumental version of Open Arms, it's really tender kind of romantic piano music that I have collected over the years, for my friends.
I am playing at a wedding New Years Eve, for a friend of mine. I have been doing this for fun over the years, and have written a bunch of songs, and I thought it would be a lovely kind of souvenir to have out there.
So we are putting that out, that's going to be exciting. Neal's got something coming out, I think it's called 'Piranha Blues'. It is a combination of guys. It's Prairie Prince an Ross Valory and he's got a blues singer from LA.
I have just mixed that here at the studio, and that's going to be on his own label, or an Internet thing. And I am supposed to do another solo vocal album.

Great, I love 'Back To The Innocence'.
Thanks, it will kinda be like that. That is going to be on a little label called Mystic, distributed by BMG.
The Steve Smith is on the road with his new album. I haven't heard it yet, but I know it's probably really good. That's a jazz album. He's touring now with that.
I think that may be out or about to be released.
We have all been pretty busy really.

There sure is some talent in the band isn't there?!
Yea, it's a pretty good band! We just keep busy. I was trying to get a jazz tour together with Smith and Neal. But Neal wants to play the blues, so he is going to do that.
Then I will probably promote my wedding CD.
Actually South Africa wanted me to come and play, so I am not sure if I am going to do that.

That's almost as far away as Australia!
Yeah, that's a ways. I wanted to hit Australia. Maybe one of these days I will get a chance to get there.

Can I throw a big question at you? I have heard you may be looking for a new lead singer.
Is that right? You heard that already?

Yeah, I have.
That is unbelievable. You know, right now, we really can't say, because there is so much stuff up in the balance. And Steve hasn't really signed off yet. So until he really decides that he doesn't want to.
We still want Steve number 1, and we are just giving him a little bit of space here to see what he wants to do.
So that's really the truth, in the interim that's what we are doing.
We owe it to him and ourselves to give him a little space and check it out, and if he's into it, and really wants to come back.
And if he doesn't, we will face those consequences.

You will have to go on maybe?
Well, everybody has worked hard to make this band a success and we feel the music is powerful and has a lot of life left to it. I feel that, the band still feels that.
If the band sounded old and tired, it wouldn't even be a consideration, but the band sounds so darn good. It would be a shame to let it go to waste.
We'll see.
Ultimately, it will be Steve's choice to carry on or not with the band.
We are hoping that's what he decides to do. But it is something you don't want to rush.
That's funny that the rumors are out already.
At this stage in the game, we are hoping he changes his mind.

Okay Jonathan, thanks very much for taking the time out to talk.
Nice talking to you, take care and thanks for calling.

What I haven't printed here was a little side conversation where Jonathan asked if I had seen Kevin Chalfant's web site and did I know where he could find it.
Indeed I did, and have since passed to him Kevin's website and his e-mail address. Interesting!

 
Tue
07
Feb

Rick Springfield (1997)

Categories: 
Interviews
Rick's first ever online interview - Interviewed via phone end of June 1997.
Keep an eye out for two exclusive sound bytes, from two tracks left off Sahara Snow!

 

 


Rick was born Richard Springthorpe, in Sydney Australia in 1949.
His father was a career soldier, with Rick growing up on army bases around the country.
He received a guitar for his thirteenth birthday, and described his love of playing as 'as hard core as you get at sixteen'.
His first band 'The Jordy Boys' played regularly in the rough pubs of Melbourne, leading him to leave school and join his first full time rock band 'Rock House'.
They earned a reputation strong enough to be invited to play to troops in Vietnam, during the late 60's.
Back in Australia, Rick moved into the now legendary pioneering Australian rock act 'Zoot'. He joined with Beeb B, who went onto join Little River Band, and Daryl Cotton, who went onto form the also now legendary Sherbet.
Zoot soon became one of the biggest acts in Australia, and had a top 10 single with a cover of 'Eleanor Rigby', styled in the bands' unique relentless pop/rock style.
Rick subsequently won awards for the country's best guitarist and composer.

"I am about due for a trip back home. Matter of fact Daryl Cotton was over here from Zoot, the other day. He brought his family over for a vacation, and they came over to see us.
We talked out doing a Zoot reunion thing".

I still have this great picture of you in a pink jump suit with lovely bell-bottoms!
"Oh my God, scary!"

 

 


Rick's debut solo single Speak To The Sky, hit #1 in Australia in 1971, prompting record company interest from the States. He was subsequently signed to the Capitol label, which sent him to London to record his debut album 'Beginnings'.
Originally released during 1971 in Australia, the album was released the following year in the United States, from which a remix of Speak To The Sky reached the top 15.


Rick said at the time, "I raced over there thinking this is it! But things didn't quite work out that way." He went on to describe the next few years as the worst of his life, mainly because he wasn't in control of his direction. The record label was trying to mold Rick into the next David Cassidy.

"Yeah, 'Speak to The Sky' was a hit over here, but it didn't really translate to the album. The album was a bit different, you know marketing me as a teen idol, when the stuff on the record was not what teen idols were doing at the time".

It was a little bit deeper than your average teen idol.
"Yeah, it was a different type of music too".

There was actually a lot more to Rick than your teen idol, as he was not exactly mainstream pop.

 

 

The 1973 album 'Comic Book Heroes' proved that. It was critically acclaimed, but commercially did not live up to expectations.
The cover art to 'Comic Book Heroes' remains as legendary today as when it was first released. It featured Rick in a white 'Super Hero' outfit, with a gatefold sleeve that has comic book art for each song title.

Where did the cover concept come from?
"I had always loved comic book artwork. I saw something like that in a magazine and thought I would look good on the album.
It was a little confusing for some people though, cause some people didn't quite get it".


Unfortunately there was also problems with immigration officials, and unhelpful management.
One of those questionable decisions made by management and the label was to take Rick's Comic Book Heroes cover concept and turn it into an animated TV series. Starring Springfield as himself, 'Mission Magic' featured him as a sort of crime fighting super hero, complete with musical soundtrack.

 

 

That subsequent soundtrack album 'Mission Magic' was released in 1974.
In keeping with the times, the lead song was titled 'We're Gonna Have A Good Time'.


"Yeah, that was a mistake! Ha ha ha!
I don't know. They started out with all these great ideas of Yellow Submarine, and ended up a Xeroxed version of every other cartoon show on the air. So it was fairly unadventurous and a little disappointing. But it was an exercise for me as far as a writing exercise, a new song every week.
I played myself. It was a very bizarre concept".

I have ever seen it down here.
"It's was played down there actually, strangely enough!"

Was it really? Late night TV or something?!
"I don't know. I got residuals from it for quite a while. It was really strange".

This is where Rick decided he had to get off. Fighting for release from his record label and management contract took two years out of his career.

"Yeah, I took one of my infamous breaks. For about three or four years I was sorting out contractual problems, trying to get out of my contract. I signed everything away when I first came here. I was pretty green. I got taken advantage of in certain ways, signed my life away, then when I wanted to leave it was very difficult.
There was nothing I wanted to do, so I just took the time off.
I kind of made that a habit, a couple of years between albums".

 

 


It was a financially strained period, in which Rick was for the best part flat broke.
He continued writing and recording and in 1976 released an album 'Wait For Night' for the Chelsea Records label.

In a bizarre twist, upon the release of the album the label promptly went bankrupt and prematurely closed down his musical career once again.
This time the gap between albums was not to be his own doing.

How did you feel about that whole situation?
"It was pretty traumatic, but I think I was already working on some new stuff, so as long as I am working on new stuff, I have a focus. There were certainly no tell tale signs of it going under, it was a like a complete surprise".

How did you survive during those hard years?
"Err, Girlfriends!"

Really?!
"Yeah, actually strangely enough, Mission Magic supported me for a decent amount of that time. Residuals from Australia, from the 'Mission Magic' show.
I remember being broke and getting a couple of checks every now and then. That saved my butt. So there is a reason for everything".

At this point Rick began to pursue acting, and was coached by people such as Vincent Chase and Malcolm McDowell.
With a friend he rented a tiny theater in Hollywood to present plays for friends and relatives and anyone else who was interested.
Springfield created sets, costumes and worked out lighting for the plays. A representative of Universal was convinced by one of these plays and singed the actor to a two year contract. What followed was an endless round of guest character appearances on shows like 'Six Million Dollar Man', 'Rockford Files', 'Incredible Hulk', 'Nancy Drew' and 'Wonder Woman'.
At this point Rick was actually faring better as an actor, than as a musician.

Another set of recordings led to further trauma in Rick's life. 'Beautiful Feelings' was originally recorded in 1978. It didn't see the light of day until 1982, when it was released without Rick's approval, or his involvement, excepting the vocals.

"That was an album we couldn't get a deal on. It was the manager I was with.
The next album I did was Working Class Dog then I separated from them and they put that out as kinda, 'Well, we've still got this!'
They took everything off, except for the vocals.
It was some old songs and they just added the horrible Hollywood studio crap".

Continuing with his acting, Rick landed his biggest acting break by becoming a regular on the hit daytime soapie General Hospital, as Dr. Noah Drake.

You were on there for a few years weren't you?
"No, about a year and a half, but it was at a time when it was a really successful show".

Never giving up on music, Rick wrote and recorded new songs, mainly for the reason he needed new material to play live and tour with.
A tape of those songs found it's way to RCA.

"Actually the boss at RCA had always like Comic Book Heroes, it was an album that he had liked. No one wanted to sign me at that point, and they kinda thought about it for a year. And said well, okay let's try it!
I had written a bunch of songs, cause I was getting ready to go out and play 'em, and those songs became the album".

The debut album for RCA, was Working Class Dog, released in 1981.
What was to follow was nothing short of stunning. That year saw Rick's first US number one single in Jessie's Girl, double platinum result for the album, a sold out US tour and a Grammy award for best male vocal.

On the eve of 'Working Class Dog', did you have any idea what was about to happen?
"No, I thought it would go in and out again like the all my other albums. That's why I signed on to Karol (Rick's manager). I was pretty much convinced that it would go on the charts for six weeks in the low one hundreds, and then drop out again, and I would go onto the next album. So it was a big surprise, when it all took off".

 

 

 

You had a quantum leap in the quality of song writing with Working Class Dog.
"Yeah, I did take a leap, and I am not quite sure, I think it did take the pressure off having to write a hit song, that I had been putting myself under that pressure.
At that point, I wrote that album so I could have some songs to go out and play in the clubs.
You know, songs that I could just play the guitar on. We didn't have strings, or big gigantic arrangements, just stripped down pop songs, and I think that is when I began to find a direction that worked for me publicly. I have always been a catchy songwriter. I have always focused on a hook, but it hasn't always necessarily worked publicly".


To me, your songs have hooks galore. There have always been choruses, bridges and layers of melody. It keeps you coming back.
"A lot of my stuff is seen for the surface that it is, not really writing about it on a true level".

However 1981 was not without it's lows. For on the eve of Rick Springfield winning the Grammy for 'Jessie's Girl', Rick's father died back home in Australia.
Norman James Springthorpe gave Rick his first guitar and encouraged and supported Rick through out his career, helping him through the lows of the past few years. It was a blow that would and still does haunt Rick.

More hit singles and a sold out tour started a roller coaster ride that would last four years without a break.
The heavy workload was carried into the recording of the follow up album 'Success Hasn't Spoilt Me Yet'.

"It was a good pop album. It could have been a lot stronger, but I was doing a TV show and touring of a weekend, so I was doing that album at night by running into the studio.
I didn't have the control over that album that I wanted to have, but it had some good songs on it. I think the instrumental direction wasn't quite what I was going for, because I didn't have the input I had previously.
It was probably my least personally involved album, after I had written everything. I played the least amount of instruments on it and I was there for the least amount of time in mixing".

Despite this, the album maintained the high song quality of Working Class Dog, and again spawned more hit singles. 'Don't Talk To Strangers', 'I Get Excited' and 'How Do You Talk To Girls' were all over the radio. Keith Olsen, who had previously worked on 'Jessie's Girl', produced the album.
Because of Rick's heavy commitments, the album featured a couple of covers, a Chas Sandford track, the seventies hit 'Black Is Black' and a new tune written by the hit making machine of Steinberg-Kelly, who have written hits for Pat Benatar and Heart.
Kristina was an original rocker co-written by Rick and long time Bryan Adams writing partner Jim Vallance.
'Success Hasn't Spoilt Me Yet' was another double platinum selling record, and gave Rick a further Grammy nomination.

 

 

 

 

Always with a tongue in cheek, the record cover featured Rick's dog Ron, who made his debut in a shirt and tie on the 'Working Class Dog' cover. This time around, he sat in the back of a limousine, flanked by two French Poodles.

"I had Ronnie my dog, I just found him. I would go for walks in the neighborhood and women loved him, so I thought I'd put him on the album cover".

And did Ron have a good innings?
"Yeah, he lived till he was thirteen. I miss him very much. I finally got another dog, but Ron is buried in the LA pet park, he has his own stone. I found it very hard to lose him.
He was a spectacular dog".


I am glad to see you still use him on your letterheads!
"Ha ha, yeah, you know I have a corporation still named after him, my publishing is named after him and my touring corporation is named after him".

The legend of Ron the dog lives on!
"Yeah!"

 

 

 


With no rest for the wicked, 'Living In Oz' was released in 1983.
The style took many by surprise, it was harder edged, more urgent and a more personal record. It was also a noticeably tougher looking Springfield, with the fresh-faced teen idol left behind for an unshaven rocker.
Back to the production team of Springfield and Bill Drescher, the album again sold beyond double platinum mark, and gave Rick his fifth Grammy nomination in three years.


How was the style change received?
"I think a lot of the critics didn't get it because they weren't expecting it, but a lot of the audience did. I gained a lot of male fans because of the style of guitar playing on it. But none of my stuff has ever been particularly well received by critics. In fact the second one, 'Comic Book Heroes' is probably the best review I ever got.
So, you know its kinda no big deal to me now, but it hurt at the time.
A lot of musicians' say that was their favorite album, and to me now it still holds up".

I hear 'Living In Oz' used as a benchmark by a lot of people, for a great album of it's time.
"We had a point, where there were a lot of people involved in it. It was the right combination of people. Mitchell Froom played keyboards on it, Richard Page of Mr. Mister sang backing vocals on it.
Bill Drescher and I did the album completely ourselves. I looked at other producers, who I wanted for that album but I thought fuck it, I'll do it myself.
We had a lot riding on it. I was going to use Keith Olsen, but Bill and I had a vision and we went with it".

You and Bill worked most of your albums in the 80's.
"Yeah, I have always been with Bill. He's actually doing the new record with me".

With the Human Touch single, you must have been one of the first guys to release an extended version of a song.
"Yeah, they were just starting to do that in England, and I was very focused on England at that point.
We did it the hard way, we actually did a long version of that song, and cut it down for the album. It was a fun thing to do".

1984 was a year for risks. 'Hard To Hold' was to be his next project, a movie and an accompanying soundtrack. It was Rick's first foray into acting since he left General Hospital in 1981, and his first solo full-length feature film.

 

 

The film starred Rick with Janet Eilber and Patti Hansen.
It centered on a performer who was having trouble writing songs for his new album, and combined with personal problems, was creating conflict within the band.
It was a plot that would later prove more true to life than anyone would have wanted to believe.
The soundtrack featured 7 new Rick tracks, including one instrumental.
The lead single 'Love Somebody' became a huge hit, and comprised a new and fuller rock sound.

What made you decide you wanted to do a movie at that stage?
"Probably ego! More than anything! I did like acting but I didn't like it as much as I do now. But I did like it and thought it was a vehicle, to do more.
But a lot of it was ego The script was not as strong as it could have been.
But I thought, I'll do some songs and make it right. But it was a lot harder than that.


A lot of people liked the album from it.

 

 

"It was fun to do, and I have good memories from it".

'Love Somebody' was a huge song.
"For a lot of people, that was a real turning point in my writing".

Not well received critically, 'Hard To Hold' the movie is now a hard to find video, while the soundtrack was deleted in 1986.
Thanks to the US based cult re-issue label Razor and Tie, a digitally re-mastered 'Hard To Hold' debuted on CD in 1995.


The musical climate was changing, and so too did Rick Springfield.
With an album technically and sonically far beyond it's year, 'Tao' was unleashed on the world, late in 1985.
It was a stellar departure from anything Rick had ever tried before. The album was much more experimental and complex than many expected.
It featured a heavy mix of guitar, synthesizer, vocal effects, sampling and drum machines.

 

 


What made 'Tao' so outstanding in it's approach?
"We just had a lot of new ideas. It is probably the one I experimented on the most. Whatever I thought of we tried it. It was just when sampling was just starting, we got really into the drum sampling. But we started on just a BMX. A little BMX drum machine, all the original drum tracks were laid down on that, and then we triggered other drum samples from that.
It was built up track by track".

Tao was layers deep in guitars, sampling and vocals.
"There is a lot going on, you can really hear it. We covered it with a lot of guitar and bass. That is still my favorite album".


It is my favourite record also. Did the critics get it?
"No, they though I was trying to be meaningful, which to me was true, but at that point they were just looking for ways to invalidate what ever I did.
It was no big deal.
But people who hear it get it".

Lyrically, it was also a new Rick Springfield. Noticeably darker and more personal than ever before, the audience was given an insight to the personal battles Rick had been fighting.
One of those battles came to light on 'My Father's Chair'. As a heartfelt goodbye to his father, it was the second song about his father's death, ('April 24, 1981' being the first), and Rick said at the time 'I always wanted to write more, because I certainly felt more'.
The tour that supported 'Tao' featured video images on a big screen, of his father and homeland, displayed while Rick soloed on a grand piano.

Several times you have written about your father's death. That was obviously hard on you.
"Still is. My Father's Chair is probably the song that I have written that has gotten the most attention from individuals, as a really meaningful song.
In the end, that is what I write for, that connection with people".

What was to follow Tao, would be one of the toughest periods in Rick's career. Just as the momentum was beginning to build once again, his career came to a grinding halt. Rick fell into a period of writer's block.

When he did come out of it the album 'Rock Of Life' was the result. It was late in 1988.
Featuring the darkest material in his career, 'Rock Of Life' was a moody, introspective and very personal record.

 

 

The band had altered somewhat, although long time friend Tim Pierce was still present. Dann Huff and Alan Pasqua (of Giant) were also on board, as was Jeff Silverman.
The title track was released as a single, and the video was the most expensive Rick had ever made.
The sound of 'Rock Of Life' was much more stripped back than the 'Tao' record, although the high tech AOR sound, and the techniques learned while recording 'Tao' were used again.
The album featured another departure from his established sound, with a dancier beat, and a less hard-edged guitar sound.


Three years between 'Tao' and 'Rock Of Life'. Writers block?
"Yeah, major. And then after Rock Of Life again".

The songs on Rock Of Life were amazingly dark.
"Yeah, very dark at that point. That's why I took some time off. It was a pretty dark time".

That is something I have always admired about your lyrics, you are very honest in them.
"Yeah I try to be. I don't really have any other choice. Otherwise I don't really have anything to write about! Ha ha.
I have to write about what is going on inside my head. I just have to start there or I just can't go on".

The demons that Rick fought off to write and record 'Rock Of Life' soon returned. Worse than ever, writer's block forced Rick to abandon any further recording. Instead he turned to his other love - Acting.
The next few years proved to be as busy as ever for Rick, with a full workload of acting projects.
In 1989 he filmed the movies 'Dead Reckoning' and 'Nick Knight'.
In Nick Knight, Rick played a cop with an unusual background. He was a vampire! Only capable of working night shift, he was on a quest to make himself mortal, with the help of a friend on the force.
The made for TV movie was a pilot for what they hoped would become a series.

 

 

 

"Nick Knight would have been good, if they had of continued.
It was originally going to go into a series from that pilot, we were ready to go on with that series, but it got canceled at the last minute.
They eventually picked that up.
Indeed it did, but not until two years later, re-written and without Rick.
It was a cheaper version of the movie, but not with the same style. They put a lot of money into the first one.
Some other TV channels were bringing out shows about baby animals and Doctors living in Hawaii, and cowboys, and they found it a little offensive.
They kicked it off air until it was, I guess they thought until it was a little more politically correct!
It's all a crap chute".


In Dead Reckoning, Rick played a psychotic lover of a married woman, who kill's her husband, and even turns on her. It was the darkest role to date for him, and one that he enjoyed most.
"I liked Dead Reckoning, for the character was a lot different for what I had played at the time".

 

 

 


You were one bad dude!
"Yeah, it was very different. The writing was quite good too, which hasn't been the case with some of the acting things I have done. Ha ha.
I am a bit more of a whore with my acting than I am with my music! In fact I am not a whore with my music, but I am with my acting.
I have kinda accepted that!"

So your sacredness is saved for your music.
"I think I am okay with my priorities on that".

There were other movies over the next couple of years such as 'In The Shadows', 'Change Of Place' and 'Silent Motive'.


There was also a TV series. His first role since General Hospital that wasn't a movie, 'Human Target' was maybe the classiest show Rick has been involved in. In the style of 'Mission Impossible', it was Rick's character's job to come to the rescue of someone in trouble, and using disguises and high tech gadgetry, he had to save them from the threat. Despite the quality, the show unfortunately only lasted the single season.

"That was a lot of fun. It had a lot of promise. Once again the writing wasn't enough to carry it".

Back to movies, 'With Harmful Intent' featured Rick only in a secondary role. As a musician in a faltering marriage, the tension escalates after a car hits his son, and a plot to have his son killed is uncovered.
Rick also appeared in three episodes of the TV series 'Robin's Hoods', filling in for one of the regulars.

 

 


While always writing and recording at his home studio, the block had still not fully cleared. At the same time a new TV series was launched, with Rick at the helm.
High Tide has become the longest running series that he has been involved in, now in it's third series. It is a murder/mystery series set on the beach, In what could be best described as 'Murder She Wrote' meets 'Baywatch'.

Has 'High Tide' been a good experience?
"It's pretty good. I like acting a lot".

 

Well you sure have been involved in a lot of projects. Even now, you have just finished doing a new movie?
"Yeah, Legion. It's a Sci-Fi thing".

Sci-Fi is a little bit different to what you have done in the past.
"Yeah, it was a different part".

High Tide is in its third season. Is that the most successful thing you have done with TV?
"No, I think General Hospital is still the best-known thing. That is what I am most remembered for as far as acting goes".

This whole time, Rick was fighting writer's block, but always recording demo's in his home studio.
During the early to mid 90's, Rick wrote and recorded an array of songs, but until now they have never seen the light of day.
There were sessions with Jeff Silverman, who helped out on the 'Rock Of Life' album, and long time friend Tim Pierce.
With Pierce, Springfield had the idea of forming a band project with a harder edge sound. Piece called in friend Bob Marlette, and a union was formed.
More than a dozen songs were written and recorded, but a release was never seriously considered until recently, when Sahara Snow was born.

 

 


The Sahara Snow record was conceived after Magnus Sodverkist, a long time contact of Rick, had formed a new label in Europe - MTM Music.
He approached Rick at the prospect of releasing a collection of these demos as a record.
Rick agreed, but not wanting to class it as a solo record, or a full studio album, it was agreed the project would be given a band name.

"It was just sitting around and, Magnus from MTM wanted to put it out, so I said yeah".


How does it feel to have a new record coming out?
"Um, I don't know - it's not like it's a solo record though. It was fun putting it together. I had a lot of fun putting it together. I had to assemble it all again, remaster it, and re-mix a couple of things. It was fun doing that, cause I love that part of the process".

The album consists of two tracks from the Springfield/Silverman sessions, eight tracks from the original Springfield/Pierce/Marlette sessions, and two new songs. These new tracks come from two different sessions Rick has been involved in while recording a new solo record.
The track 'Stranger' is co-written with AOR heavy weight Mark Spiro, and is from solo sessions in 1996, while 'Lust' is from the latest 1997 sessions.

The label cut the album down to 12 tracks, from 14.
"Yes it is. What we have left off is 'Why Don't You Dance' and 'Love Receiver'.

Oh no, I thought 'Love Receiver' was hilarious!
"Ha ha ha".

That was a great tune! Lyrically very funny!
"I don't think the Germans got it! Ha ha".

Well I am glad I have a copy of it. Not politically correct?
"Yeah, maybe!"

It has been a busy 18 months for Rick. There have been a number of projects, including staring in the new movie 'Legion', the mixing and re-mastering of the Sahara Snow tapes, and recording the new solo record.
That above everything, is where all Rick's passion and energy has been focused.
With the block cleared, we have back the classic Rick Springfield of old.

Lyrically, how are the new songs? Dark again?
"Err, there is some darkness, but it is not from the same dark place. Ha ha.
It is from a lighter perspective now".

So you are happy with things then?
"Yes, I went through a pretty dark period".

You have had some great ups and downs during your career.
"Yeah I think that's what makes you. I want to be around for a long time, doing what I love to do. I have been through my share of valleys. I am waiting for the peaks!"

For the first time since his solo records in the seventies, the new record features Rick writing, producing, and playing all the instruments himself.
And the lyrics are back to their haunting personal best, with all the angst of the battles he has faced woven into every line.
A small hint of what is to come can be found on the final track of the Sahara Snow record, 'Lust'. It was one of the last tracks finished, just prior to the mastering of the Sahara Snow disc.
It is a new sound for fans to get used to, a stripped back guitar driven pop rock sound, back to the hard edged guitar of Working Class Dog and even Living In Oz.

"It will be out this year. Late this year or early next year.
I may be putting it out on my own label, I'm not sure yet".

The lyrical tone throughout the upcoming record tells the tale of Rick's journey through his career, of the high's and the lows. It is a life-spanning tale of personal glories and regrets, and will give fans an insight never before imagined, even more so, than the lyrics of 'Rock Of Life'.
It is something to truly look forward to.

 
Tue
07
Feb

Heartland - Chris Ousey (1997)

Artist: 
Categories: 
Interviews

How are you mate?

Not bad. I haven't been out of bed long, I take a while to run on all cylinders, you know!

How's things?
Okay, not bad. We've done a couple of weeks in Germany. It has taken me a week to get over that, we did a lot of travelling. It has been great.

And you are just resting in between projects right now?
We are going to start the next Heartland record in the studio in mid January. I have just got maybe one more tune to write.
Apart from that I am not flogging it at the moment.

How has the Distance project faired up?
I am really pleased with it actually. It's gone a hell of a lot better than I thought it would. Not that I didn't think the songs were good to begin with, but I was kind of nervous to start a new project.
I hadn't met the guy before.

Really!?
Yeah, I knew very little about Kenny before hand. The thing just came about, because I was half way through writing the next Heartland record with Steve Morris and Steve had to break off for a little while to be in Ian Gillan's solo band.
So I had a kind of dead period, and I didn't want to stop writing because I find it difficult once I have stopped to get started again.
Escape music here wanted to know if I fancied doing a sort of solo record. And I thought that is a little unfair, as I always work with somebody else, and the idea of putting it out as a solo record when it is pretty obvious it is a joint project seemed to me a bit unfair.
I heard the Pokerface record, which I really liked, and I just fancied the change.
To get out of the country for a little while and do something different gave me a new slant on the Heartland stuff as well. It is good to do something else.

I have enjoyed the Heartland records. But as soon as I played this record I was blown away. The power, the guitar. It was a lot more in your face.
Yeah, there was definitely a change. I think it even has a little of the Canadian sound. It is a little bit more basic, and gave me a lot more scope to get a lot more attitude into it.

It is a rocking album!
We are definitely going to do another one.
Apart from everything else, I really enjoyed working with Kenny.
You always hope that everything you work on will be a commercial success, and it seems to be doing well, but when it comes down to it, it's whether you enjoy doing it, and I had a great time.

You sound like you are enjoying it.
Absolutely. I went over (to Vancouver) for 10 days to do the vocals and it was great to walk into the studio and have everything ready for you.
I don't particularly like studio's. For me going into the studio is like going to the dentist!
It is just not a very creative place for me. I like to have everything completely finished before I go in, so I can go strait for it.
Kenny has a nice little ranch up in the hills, so there are no disturbances.

Hard for some I guess!!!
Actually it pissed down most of the week.

Ha ha.
Yeah, it rained something rotten. But I live in Manchester, which is known as the rainy city, but Vancouver can take some beating!

Has the album been received well?
Yeah, I shouldn't really be surprised, but it has.
I took Kenny over to Germany for two weeks; we did an acoustic thing over there.
I went with Steve and Kenny so we could do some of each band acoustically.
It was great to go from one to the other.
We did some TV spots which were good.
I think with AOR, you have to try and keep the standard up. There are a lot of albums kicking about that aren't great, but aren't bad either. It is hard to keep up the standard.

Something I am curious about. You along with fellow UK rockers TEN have been pumping out new material at an awesome rate. Do you keep yourself busy recording all the time?
Yeah, I think a lot of that is that we are working with a smaller label.
With my last deal at A&M, the wheels grind really slowly. It's not that bands don't have enough material, or don't want to put records out, it's more the fact that when you have a major deal - because there is so much investment in each record, things grind forward so slowly.
With an independent record company the whole thing just moves much quicker. You get on the phone and ask for something, and it is done.

That must be enjoyable.
Yeah it's great. Escape have a great deal of enthusiasm.

How about Virginia Wolf?
I always enjoyed working with Nick Bold. He was incredibly prolific.
You would leave him in a room for a couple of hours and come back, and he would have four songs ready for you.
He was one of those guys that didn't seem to sleep.
I miss working with him.
I have not spoken to him for about three years. He was madly keen on learning the piano when I saw him last. He loves a challenge.
I hope he is still in the business.

That first record is one of my all time favourites.
Right, the first album as a good live album also. It was good to play live.
I think if anything, that was one of the problems. When we put the first record out and did some touring, it felt really good.
The record company were right behind us, Atlantic in America.
We put the second album out, and although it was a great studio record, it was hard to put over live. It didn't have the same easy flow as the first record.
I think at that time, what we needed was another really good live record.
We stumbled a bit around then.

What happened after that?
We lost the deal with Atlantic, and that was back I the days when none of us were particularly experienced, we thought once we lost the deal, that that was it.
Which looking back was really stupid!
A band is a band, and you go from deal to deal, you know.
We took it as a bit of a blow and Nick took it bad, as he felt he has worked really hard on the second album, and I think he was just very very disappointed.

And from there, a couple of years later, Heartland was formed.
Yeah, I was friend with a guy for years called Gary Sharpe, and I knew he had a home based studio.
He was one of the first guys into that. We kind of juts naturally drifted together.

It was a pretty soft album. Great soft AOR.
Yeah, I think you have to be critical of it, a lot of people say it is over produced, which is fair enough.
It is difficult to get hold of now, people are now looking for it.
A&M had an open wallet when it came to that one, they really liked the songs, and were looking for a band like us at the time, and went for it.
I actually got a lot of satisfaction at the time when the second record Wide Open came out, which was just working demo's anyway.
People were kind of saying the second album, that had absolutely no money thrown at it, and we were getting the same sort of reviews.
It just taught me that it is the songs that matter.
What I am trying to say is that you can throw as much money at a record, but a bad record is always going to be a bad record, no matter what how much money is involved.

How about Virginia Wolf on disc then?
It is possible. I was asked that in Germany. At the moment Escape are looking into that. I will keep you posted!

And the next Heartland record?
Yeah, I would like the next album to have even more depth to it. It will sound well produced, and I always want to put a little more into the songs. More going on.
That will keep going in the same direction as the last one.

Maybe we can talk again when the next Heartland comes out.
For sure mate. Good luck with the web page.

Thanks Chris for calling.
No worries. Bye.

 

 

 
Tue
07
Feb

Steve Stevens (1997)

Artist: 
Categories: 
Interviews
Steve Stevens is the guitar talent behind Billy Idol, Michael Monroe, Vince Neil and of course his own Atomic Playboys. Now he has teamed with the legendary Terry Bozzio and Tony Levin to create a power trio and the album 'Black Light Syndrome'.
Here is Steve talking about a few aspects of his career to date.

Hey Steve, how's it all going?
Very well thanks.

What are you in the middle of right now?
Actually I am doing a solo record. It has dance music underneath the rock style, with lots of odd loops and ethnic percussion. Very trance like.

That sounds like a big departure!
Yeah, it's different, but it works though.

Who is that going to be for?
It's for Myles Copeland, who is Sting's manager, he has a new instrumental based label called arc 21.

I have heard of Copeland's castle in France, and Jack Blades hangs out with him also.
That's right, yeah he has a song writing retreat once a year in France.

Hard life isn't it?
Yeah, ha ha.

So how has the response for Black Light Syndrome been?
I think well. Based on the fact that it is released on a very small label, so with that in mind, it has done pretty well.

It is a pretty musically intense record.

Yeah, ha ha. It was intense for us too. Knowing that we only had four days to record it.

What, the whole record?
Yeah!

Four days! How did you record then? Loosely?
Absolutely. The only thing that I could determine as pre-production was that Terry Bozzio and I got together before we went into the studio. I went out to Austin Texas where Terry lives just to jam.
But the three of us had never played in the same room before, so what you hear on the record, is pretty much a documentation of what went on in the studio.

There are some very long tracks on there.
Yeah, we debated with the idea of making some of the tracks shorter, and we actually attempted some edits, but in the context of the kind of record it is, it just didn't work.
It just seemed foolish. If people are going to be into that kind of record, the fact that there are tracks 10 and 12 minutes long – either people are going to like it or they aren't!

The length of the songs isn't going to change that, eh?
Yeah, it's not everyone's cup of tea, but those who are going to get into it, I don't think they are going to complain.

Was it nice for you to have a free reign?
Yeah, kind of.
I think the kind of glue that holds that record together, was the mutual respect we all have for each other.

You all have great résumé's.
It could have been horrible though, if it was three guys there just to show off.
I think there is some self restraint involved though!

Yeah, you all get a fair share of the limelight on the album.
Right, I would hope not.

I must ask you, as I have been asked this, and am curious myself – are you going to make another big hard rock record?

Er, no. not in the near future.

Really? Been there, done that?
Um, yeah, I have worked with a number of artists that are known for that. The only kind of pop/hard rock record I would even contemplate doing is another Billy Idol record.
And, unfortunately that doesn't look like it it's going to happen.

Okay, I was going to lead into that. How is the old boy?
Um, I really couldn't say right now, at this point. We still speak occasionally and we are on good terms. But for myself, I like to be productive, and I like to challenge myself.
And to go back and try and re-create something that happened 10 years ago doesn't interest me at this point.

You two got back together a couple of years ago for another record. What happened to that?
We attempted to, yeah.

What happened? Did it fall over?
Basically, there were no songs. I don't know where Billy is at currently, but at the time that I was asked to comeback and work with him, there was nothing to work with.
And unless an artist really wants to make a record, or has something to say – all the fucking great guitar playing in the world ain't going to change that fact there are no songs.
So I had to step aside and take on other avenues.

I have a fantastic live unplugged tape of you guys doing Rebel Yell one New Years Eve. I have never heard acoustic guitar played like that in my life. It was incredible! I would love the full gig.
Ha ha, right. It went live out over the radio stations. The set was 45 minutes I guess.

Any chance of a live album at some stage?
Mmmm, I don't know.

What about your Atomic Playboy's album? That's fairly legendary.
What, legendarily bad?!!

Absolutely not!
Really, that's surprising – I can't listen to it!

You can't?
Yeah, it's probably the least favourite record I have ever recorded. I do like the instrumentation, but there are a number of reasons that I don't like that record.
It was one the first record I was involved with that was recorded digitally, and I find the overall sound of that record really harsh. Not pleasing.
Secondly, I think the singer on that album is kind of awful.
I spent the better part of 2 years looking for a singer for that album.

Ha ha, and he hasn't been seen since.
No, it was really tough. Every singer that I approached may have been okay, but they had this specter of Billy Idol hanging over their heads, and they just got really nervous. Ha ha
Sometimes people just have to be themselves, and not worry about what I have done before, or whatever.

How may did you approach?
Well, I listened to probably 150 tapes.

Of different singers?
Yeah. I remember at the time John Sykes of Whitesnake was looking for a singer as well. So he and I would swap tapes.

I just got his new record actually.
What's that like?

Good. It's all ballads, but still rather good. Like yourself, he has a very distinctive sound.
I tell you what I did like, and that's Jerusalem Slim.
Oh right, not many people have heard that actually.

Yeah, it didn't get a wide release.
There are some interesting things on it. What was enjoyable was the drummer on that record Greg Ellis has since become a very good mate of mine.
I saw him playing in a club with a band called Shark Island. I brought him into do that record and we have maintained a really good friendship. He is actually going to help me out on my solo record.
So there were good things about it. I don't think it was the right record for Michael Monroe.

It was a departure in sound for him.

But I enjoyed working with producer Michael Wagner also. There is a shit load of guitar on that record. I think that is what made Michael very uncomfortable.
I think he is used to working with guitar players that are a bit more simple.

One of the other artists you worked with is Vince Neil.
Right, yeah.

That was probably the better type of record for your guitar sound. Did that fit in with his plans?
You know, the first song has a bloody 2 minute guitar solo in it!!
Yeah, I know ha ha. I kept saying to him, shouldn't we shorten these things up a little? He was said no.

So he was cool for it?
Yeah.

Did you enjoy working with Vince? I imagine there was a little ego involved?
Not really, you know. I prefer to work with people that if their name is going to be on the album cover, you would expect them to take more control over it all.
He kind of left it up to other people around him.
I guess he is used to that with Motley Crue, where the other three guys kind of pull things together.
So you know, what ever people are comfortable working with. But I really like working with musicians that get in your face.

What's Billy Idol like to work with? You have made more records with him than anyone.
Yeah, when it was working well it was great. When it wasn't it was awful.
And I think you can tell by the records. With Rebel Yell – there was a real magic involved, and with the subsequent record Whiplash Smile, there wasn't.

The intensity wasn't there like it was before.
Well, the logic kind of defied the record. With Rebel Yell, it was a real live band; a real bass player and backing tracks were recorded live.
Then you go to a little drum machine, synthesizer record. Electronic in a bad way.
There are electronic records that I really like, for instance Tangerine Dream.
But that has attitude and environment.
Whiplash Smile was largely the reason I left Billy. After doing that record, my guitar style just didn't match where he was going.

And he continued along that path, until no one was really interested.
Yeah, whenever he has done that he has failed miserably.
I don't think people really dig that.

I have seen you live once. With Vince Neil at the Canada Day festival in Ontario in 1993. That was one wild show.
Yeah, it was a great day. I enjoyed that show. Good fun.

You guys were the first not be booed or hassled off stage apart from Kim Mitchell.
Ha ha.

Anything else you would like to do in the future?
Well, hopefully I am working on doing those things now. I played last night in LA with techno act Moby, and it was just an absolutely fantastic experience for me.
I have been making records for 15 years and how many times can I get excited about setting up to play. It was a whole new thing for me, trying to blend my style with this type of music. Heavy grooves over a trance beat.

How did it go down with the crowd?
Fantastic actually. Just fantastic. They are saying they are big fans of mine, so I would have never expected that.

And touring plans?
Definitely with my new solo record.

How about with Black Light Syndrome?
There is talk of another record, and I think we will tour on that, when there is more material to play.

And when might your solo record come out?
Tentatively June in Japan. And August in the States.

Good luck with everything Steve. And don't forget to do a rock record sometime!
Alright Andrew, thanks!
 
Tue
07
Feb

Beggars & Thieves (1997)

Categories: 
Interviews

 

How are you guys?Ron: Good – Me and Louis are here.
Louis: Hey!

Where are you guys?
R: We are in Vegas, our family lives out here and we are here rehearsing.
Putting the second record together.

L: Yeah, writing new songs for the new record, and seeing what's going on in Europe.

It seems to be moving there, rather than anywhere else, eh?
R: Well yeah.

So are you happy with the second record?
R: Yeah. You have our first record too do you?

Yeah, I Iove that record! It was an original sound you know.
R: Thank you.

Your first record come out, it went well for you didn't it?
R: Yeah, pretty well.

And the same old story – what happened to the label after that?
R: Well, interestingly, we were with the management company, and we did a tour, and the first record was beginning to do well, then Atlantic kinda dropped the ball.
L: Well - the classic story, our man at the label left.
R: He left before the album came out. So we were held for a while, it was really frustrating, there was nothing we could do. And then finally we got off the label, and they agreed to let us go, and we got picked up by Epic.
Actually, we had the deal waiting and they held on to us for like six months.

L: They wouldn't drop us. They were dropping bands left right and center.
R: We did good enough to the point they wanted to keep us, but not good enough to where we were happy with the situation. So we sat around and waited and waited and finally got off the label, then signed with Epic.
Then we wrote and went up to Vancouver and worked with Jim Vallance, and made the second record up there. And then the same situation happened, where our A&R guy left the label at epic. They all play musical chairs!
Unfortunately people keep getting caught in the middle.


How frustrating was that?
R: Well, very frustrating.
L: Yeah, pretty frustrating. Fortunately the record did get released though.
R: Yeah, we just happy that it was able to come out.
Thanks to Magnus.


How many years since it was recorded? Three or something?
R: Yeah, three years.
L: Seems like 30!!

I bet!! That is a long time to sit on a record.
R: Oh yeah, the whole process has been incredibly frustrating.

Was does a band do in that situation, to pay the bills?
R: Well Louis sings and I write and produce. So we are lucky that we are able to make a living in the music business.
L: Session singer and stuff like that.
R: We have been able to survive and now there is a little bit of energy in Europe and we are putting together the new album and we will take it as it comes.
We would like to go over to Europe and play, maybe do dome acoustic shows.

L: Yeah, those shows are fun.

Is there any sign of 'Look What You Create' coming out in the States?
L: Not yet.
R: No, we are shopping it around a little bit.
Like you said, it has been over three years, it is kinda hard to even think in terms of it coming out.
We might do another album for Europe and put together a record between those.


I guess it is better just to move on….
R: The thing is, as an artist and a band, you progress, you can only hold on to something for so long.
L: That was a statement of where we were three years ago.

It sounds as fresh as yesterday to me!
R: Why thank you.
L: It was well recorded, that's for sure. We spent a lot of time recording with Jim Vallance, who is an extremely talented guy. Something good today, should be good three years from now.
It has a sort of timeless quality to it.


With the original recordings, there are five extra tracks that didn't make the final cut. Where did they come from?
R: Did you get the advance tape?

Yeah, I think!
L: I know what you got!
R: The album that got released was the exact same album from Epic. You may have an advance copy that has other tracks. Our plans when Magnus got involved in it, was to put two new songs on it, and keep the old record the way it was. But epic wouldn't allow that. The record had to be exactly as it was, even in sequence.
It went from them not wanting the record at all, to making sure it stayed the record it was, so if it did do something, they would make money.
Yeah, if the record did do something, they could release it in America, and they would have it in that exact form.
The album as originally completed is as it is now.
We recorded a lot of other songs with Jim Vallance that may show up on our new album. Not all those songs made the Look What You Create album.
We cut like 15 or 16 songs for the album.


The album has a much stronger bluesier tone.
Was that due to management pressures?

R: That was one aspect of what we were doing.
I wouldn't say they pressured us into being bluesier, we probably wrote a couple more blues songs.
With the final song selection, they went with a lot more of the laid back blues songs.

L: They tried to focus it a bit more.

As far as anthems, you don't get much bigger that No More Broken Dreams or Beggars And Thieves!
L: Yeah, we have bittersweet and blue on the new album.

I love that track.
L: Yeah, it is one of my favorites also. I thought my head was going to blow up when I sang it!

Ha ha. I must compliment you on your voice Louis! It is fantastic.
L: Thank you. I though I was going to pass out!
Not bad for a guy who has only been singing three months. Ha ha.


Ha ha.
How do you get a song like that out?

L: Well there were times I felt so much blood rushing to my head, I felt dizzy!
We had to stop, and I had to take a few minutes!


And a huge guitar sound. Where did that evolve?
R: I have always been into orchestrating with guitars. All my influences were guitar players that did that. Jimmy page, The Edge.
Both Louis and me have a lot of studio experience. We love to play live and have done a lot of that, but we both come from the studio and spend a lot of time there, so are comfortable with that.


Who is in the band now?
R: Well we are working with a drummer Les Warner from the Cult, and a bass player who worked with George Lynch.
L: Unfortunately the drummer who played on the record passed away.
Bobby Chouinard. It was the last record he did.


That's too bad.
R: Yeah, he used to play with Billy Squier. He was one of the first drummers sampled by the hip hop community.
L: A great drummer.
R: He was the kind of drummer you didn't have to say how or what to play, he just went off.
We actually dedicated the record to him.


How about a style for the third album?
L: No matter what Ron and I do together, it is pretty much going to come out as what we do. Basically it ends up being Beggars And Thieves.
We have never jumped on a bandwagon, cause we do what we do. To try and be something you are not I think, is a waste of time.

R: We are what we are. We may experiment with different approaches and different sounds, or maybe different grooves, but we not going to change that much. We may do it little different or a little better.
L: We are not going to become new wave or alternative.

When might we see the third record?
R: I don't know. We will probably beginning to do some recording in the fall. We are talking to Magnus, and it may be out at the beginning of next year.

Well it has been a pleasure talking to you.
L: Thanks for your time Andrew.

My pleasure, thanks for giving me the interview.
R: Take care man.
L: Later Andrew.

 

 

 

 

 

 


c.1997 Hot Spot.

 

 

 

 

 

 

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