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Tue

Feb

Swirl 360 (2005)

Artist:

Swirl 360

Categories:

Interviews

Swirl 360: A Californian Revenge

Brothers Kenny & Denny talk about their new album and the hardships from being cast aside by industry BS...

Hi Kenny and Denny, I have to start by asking about the long time between the debut Swirl 360 album and the new one on Atenzia.
First of all - you were signed to Mercury Records and as we all know, the deal went sour due to label politics. Looking back, can you sum up the frustration that 1000 bands have been put through and how you felt?
Denny: Tragic, best describes that whole experience. When we first got signed to Mercury/Polygram, we did not really have any of the songs written yet. Steve Greenberg, who signed us, told us we could not start recording until half the record was written. Ken and I wanted the record out by summer so within November and December of 1997, we had written more than half record. Once we handed in the songs like Hey Now Now, Candy In The Sun, Rewind, Stick Around, Ask Anybody,... the radio department got a hold of it and we were immediately bumped to priority. We all new that we had a hit record on our hands. The record came out and Hey Now Now, started to climb the charts. We thought we were on our way. Then Universal came in and it all stopped. All of our money for promotion was frozen. 180 people were laid off, so we basically had no one at the label working the record. Polygram did not know what to do with us. It was devastating to see it just die instantly. I am sure Ken will agree with me when I say, it killed our spirit and still affects us today. It took a long time to recover.
Kenny: Everyone knew we had a hit record. Universal didn't even care. The guy that bought Polygram sold alcohol for a living. His only goal was to be the bigger than Sony. It was all about corporate bullshit. Thank God for downloading!! It punched the record labels right in the face. A gold record will mean something again.

What kind of leveller is it to be promised the world, but see that promise unfulfilled?
Denny: It knocks the wind out of you. You don't believe it. Once you get to place like where we were, you don't think it is going to end. We were guaranteed a second record with Mercury. By that time, the label was now called, Island/Def Jam. Fucking retarded. I must say, Universal fucked it all up. Dissolving A&M Records and Mercury records. For anyone who does not know, those labels brought us the Police, Bryan Adams, Def Leppard, Rush, Tears for Fears, Thin Lizzy, Kiss, and so many more. All that history, Universal killed it. As I was saying, the label at the time was now called, Island/Def Jam. They said we could make another record but there would be no one to work it. Basically, because all the lay offs. So they paid us to leave. We tried to go to other labels but we had no new songs. After what we had gone through, it was hard to start writing again. It took time for us to get over it and get back into the groove.
Kenny: It definitely leaves a big chip on your shoulder. That's why we have the song Oblivion. Our music is so personal and they treated it like a stock option. Sometimes I feel it was a blessing in disguise. We are stronger now and are ready for round two.

Did you have any chance to capitalize on the release of that album? I actually saw it released here in Australia, so the wheels were turning for a little while at least!
Denny: We had some mild success. Australia was one or our biggest markets. We did some movie soundtracks like I Still Know What You Did Last Summer, Jack Frost, and Never Been Kissed. Also, we were featured in quite a few popular television shows like Melrose Place, Dawson's Creek, and Buffy the Vampire Slayer. We also toured all over Europe and Asia. We were supposed to go to Australia and South America, but the money for promotion was frozen. Like I said, with the merger, it just died instantly.
Kenny: Overseas is where we preformed the best. "Hey Now Now took off. Then the merger hit, and in a few months it was all over.

I love your analogy that Los Angeles is a city that eats you alive... I lived there for a few months and saw a good mate pretty much get eaten alive - he survived as you have - but how? How do you escape the intensity of the city and the fact that first time around, things didn't work out?
Denny: It's all about survival here. God, friends and family help. The support of our mother and father really got us through. Plus, having that outlet to write songs. Conveying your feelings through song really helps. It's therapeutic.
Kenny: It's very competitive here. Having real genuine friends are key.

It's stated you had all but given up and the lyrics of the new album paint a vivid picture - what did you fall back to - what were you both doing to earn a living?
Denny: The royalties from Ask Anybody kept us going for a while. The Baha Men, cut one of our songs on their record, Who Let The Dogs Out. It sold like 4 million so we saw some money from that. Then about 2002, we had to get jobs. We did some temp work and then we both got jobs bar tending on the Sunset Strip. It pays well and keeps your days free to do music.

And how did Atenzia find you?
Denny: Magnus had emailed our site years before. Ken had emailed with him for a while. This was before he was with Atenzia. Then, we did some recording with Ken's friend, Evan Frankfort. Evan was working on a record for Atenzia and had told Magnus he was working with us. Magnus had heard some of the new tunes and offered us a deal.

What stage were you at when their offer of a deal came through? Had you re-started songwriting and recording, or was it the label that spurred you on?
Denny: Ken and I had gotten back from Florida during the holidays. We were not speaking to each other. It just felt like it was over and we needed to get on with our lives. Then Atenzia came calling. At the time, we only had a few songs.
Kenny: We had quit the biz. We were done and ready to pursue other outlets. The summer before we had showcased to about 30 labels because the movie, National Lampoon's Van Wilder. We were the only unsigned band on the Soundtrack. Even though the song, Okay was getting radio play, no one was interested. So when Magnus offered us a deal a year later, we immediately started writing again. We were still writing while we were in Lake Arrowhead making the album. We ended up with like 20 songs, but only chose 13 tracks for California Blur.

Let's talk about some of the songs on the album - several references to California and the circumstances you found yourselves in. Oblivion and California Blur - tell us about those tracks:
Denny: Oblivion is about surviving in California. It's our anthem. For us, it about moving on from the Universal Merger/Ask Anybody days. The lines, "the universal sound, turned our world up side down" and "ask anybody couldn't keep the smile on our face" describes that. You get knocked down, but you get back up and keep going.
California Blur is about living in California and the fast pace life style of it. It takes guts to pack up and move to LA to follow your dream. I am standing tall. I am one in all. We are dreamers in our hearts, and we are shooting for the stars.
The whole record has that California survival theme to it. We decided in the beginning that we would write what we were feeling. We wanted the songs to be real.

Are you both LA/Californian born, or did you move there?
Denny: We are from Jacksonville Florida. We moved to LA in January of 1997. We signed to Mercury/Polygram in November of 1997.

How about the darker Perfect Day - can you tell us about that track? And I really like Postcard also...
Denny: Perfect Day is about our days in Florida surfing. It is hard to explain though the song does it justice. A perfect day at the beach surfing is a religious experience. You paddle out into the ocean, leaving all your worries and problems behind on the shore. You just paddle away from the earth and get lost. I miss those days terribly.
Postcard was written right after the merger was complete 1999. The label had paid us our goodbye money and I was living by myself. Ken was married at the time. I remember sitting in my apartment thinking about how we had just lost our record deal and what I was going to tell all my friends and family back in Florida. That song just poured out of me in like 10 minutes. The line, wish you were here, is meant to be sarcastic.

To those that are unfamiliar with the band - how would you best describe your sound? I say it's a very contemporary style, yet it features some classic melodic power pop influences.
Denny: Straight up white boy pop rock alternative. Hooky songs with a rock band feel.
Kenny: We are a melody based type rock band with harmonies. We are all about the songs.

Your influences are varied and plentiful - but what are the few major influences over your style?
Denny: On California Blur, we went back to our 80's roots. That 80's melodic pop rock style like U2 and INXS.
Kenny: We have so many influences like...The Beatles, U2, Oasis, Foo Fighters, Third Eye Blind, Jellyfish, Thin Lizzy, and many more!

The album has a great sound - how did you capture the energy of the songs in the studio?
Kenny: It all started with Luke, our drummer. He is a powerful player. Once we had scratch guitars laid down, he killed it. It all started there. Huge energy. He plays a lot like Dave Grohl.

And leading on fro that - how could you afford to do that! Did Atenzia come to the party with a good recording advance, or did you get lucky as far as the people and studio you were working with?
Kenny: Atenzia gave us a good advance. We were able to get most of it done. We also went out of pocket, contributing our own cash to get it to the next level. We were very particular to how we wanted it to sound and look. It couldn't have come together any better. It was down to the wire and then it all just fell into place.

How did you get such greats as Tim Pierce involved in the recording process and what did he and the other guys contribute to the album's sound?
Kenny: Denny and I have been friends with Tim for a long time. He is such a great guy and fun to hang out with. He has so many toys that we foam at the mouth to see what new pedals or new guitars he has gotten. Plus, he is a kick ass guitar player. He added so much color to the album.
Denny: We also had JJ from the Tories do some rhythm guitar tracks. Not to mention, Roger Manning from Jellyfish did some cool background vocals and keyboard parts. I must also mention Chad, his bass playing really took the songs to another level. He really pushed us on lyrics and arrangement too.

California Blur is a mile ahead of the debut album, so congratulations on that - the album is just coming out in Europe - how has the response been to it?
Kenny: Thanks! So far the response has been great. We are ecstatic. Our goal was to make another great album and we are confident that we did just that.

And surely this has to be released in the USA?! Do you have anything lined up at this stage?
Kenny: It's been an up hill climb to get it released here in the states. We have few things on the table but nothing set in stone. It will eventually get release in the US. We hope by summer.

What's next guys, anything you are currently working on you can tell us about?
Kenny: We are working on getting some Soundtrack/TV placements. We also want to tour in support of the new album. New web site coming soon. Plus, work on the video for the track, California Blur. Always writing too.

Anything you would like to add?
Denny: Thanks to all the fans! We are so proud of this record. We really hope it gets out there. This record really defines who we are so much more than Ask Anybody ever did. I just want everyone to hear it. It sucks how most records today only have one good song. California Blur has many. Growing up we always loved records where every song was good. California Blur lives up to that. Please check it out.
Kenny: Thanks to all the fans for being so patient with us and standing by us. Thanks Andrew for the interview!!

www.swirl360.com / www.myspace.com/swirl360

Tags:

2005

Swirl 360

Tue

Feb

Jay Miles (2005)

Artist:

Jay Miles

Categories:

Interviews

Jay Miles: A New Start

Swiss born US resident Jay Miles talks about his ultra smooth debut solo album out now on MTM.

Hi Jay, Thanks for taking the time to discuss the release of your new album 9 Hours. It's been a long time coming for you - are you relieved to see it done and on its way to CD stores?
As you mentioned, it's been a very long time coming and I am already eager to go back to the Studio to record the next CD. I am very happy with our partners for Europe, they've done an extraordinary job to promote the CD and I am more excited about the reactions to the records so far than I am relieved to see it done...

How long was the process of first writing the songs for the album (and selecting the ones you didn't write) and how long to get the album recorded?
We started out by selecting a mere 300 songs from other songwriters out of Nashville and L.A.. Once we determined which songs would make it to our final selection, we then added the conforming material out of my personal song-catalogue and matched the tunes in depth and sincerity. The actual recording process is always way too short, especially when you take the caliber of musicians working in the studio in consideration. It's my all time favorite part of the business, to see your mental creations taking on a audible form.

I'll jump back to start with - your first release after a long association with music was Steamtrain. What kind of success did you have in Europe with that album?
After all the hype about the music industry and its recent accusations, I consider it a part of a darker chapter of my past life and I don't ever want to be associated with majors again for that exact same reason. I was working for SONY when I released STEAMTRAIN, the conflict of interest was enormous and even though we tried to treat the connection in the most delicate way, someone always found a way to cry "treason" and slam you with lies and deceptions. We entered the charts and remained there for a good 3 months, the production was sincere and we worked three years on that particular record as well.

Do you regret now that it was only 1 album and not more?
For reasons mentioned above....NO, this kind of Rock-sound was on its way out of the major radio-stations when we released it and Lenny Kravitz sang, "Rock-n Roll is Dead". I don't believe that for a second, but the media usually just jumps on every new bandwagon driving by metaphorically speaking. A famous musician once said, "The world of music is just like an ocean, there are a million waves and in the midst of all of it, there is a Rock, the waves come and go, Rock-music will last forever!

What prompted your move to Los Angeles? Obviously it's the music and entertainment capital of the world, but what was your driving force behind this decision?
I actually live in Phoenix Arizona now, L.A. is too hectic, the air is filled with constant "hush-hush-energy". I enjoy Phoenix, it's one of the most intriguing cities in the world, despite the fact that it's built in the middle of the desert. L.A. can be reached by car in 5 hours or by plane (about 30 flights a day) in 45 minutes. I wanted to be in close vicinity to the Entertainment capital, but live in a place as clean and safe as Switzerland.....lol.

I'd like to say that the move worked out well for you, as you have obviously been busy as a session performer, but did it work out for you as planned? I guess everyone has the desire to be worldwide superstar - so were you frustrated at the time that was not happening and are you happy now with your life there?
To be very honest, when I first lived in L.A. it was indeed frustrating, wherever you go you see people who have made it, I had no connections at that time and knew, that without those, there's no way to break into this competitive market. On the other hand, I never had intentions to be a "Superstar", growing up in Switzerland I was raised on the principles of being humble and showing dignity. Maybe that's what all my hero-musicians, who I can call great friends now subconsciously felt when they met me first.

When you got to LA, how did you get your first job and from there - how did you support yourself?
I can hardly recall all the events, all I remember is that I went through a few different managers with great connections. No-one wanted to be fully engaged with an un-known Swiss-dude, but all of them wanted to stay in the loop just in case I would be able to come up with something....you know, it's the name of the game. Keep in contact with everybody, you never know when they might become the next big thing...

The single most important event though was meeting Mike Farrow, a kind man with incredible credentials. He was the scoring mixer and engineer on "Beauty and the Beast", "Aladdin", "Fargo", Collateral" and so on and so forth. I met him while I was studying at the "Conservatory of Recording Arts and Science", preparing for my "Engineer and Producer" Diploma. We became great friends over the last 8 years and the rest is history as they say.....Thanks Mike!

What recordings/session work have you done in the years since moving there?
And you remain a citizen of the USA, I presume living in LA? Great city :)
I am still a Swiss-citizen with a VISA for the U.S. My best case future scenario would include living in Europe for a good part of the year and enjoying the warm weather of the West Coast of the U.S. during the winter months.

I hear that you financed the recording of the album yourself and one listen to it and a quick read of the liner notes will show that it would not have been a cheap album to make! So - how did you go about getting the album recorded and the musicians involved? Some mighty names there.
I formed a legitimate company, Steamtrain Entertainment Inc. in 2000 and a subsidiary, Steamtrain Records LLc in 2001. Those entities include Shareholders, (Investors) and a part of the funds were raised through those companies. Although the musicians on the CD are good friends, I strongly believe in the separation of business and pleasure. These guys are worth every penny and I will always pay top dollars for top performances! It's a part of my "acting with integrity" philosophy. As I mentioned before, I met a never-ending list of musicians in the 10 years in the U.S., I traveled between N.Y., Nashville and L.A. whenever there was a new glimpse of hope appearing on the horizon eventually helping my cause. You meet 1000 people and 10 of them end up being a match, that's life and you better be prepared for a lot of effort if you wanna break into anything you pursue with a passion!

Can you share some experiences of working with the great Steve Lukather? And Michael Thompson and CJ Vanstone to name just a few!
What can I say, it's a blast not only because of their mind-blowing talents and performances, they are also a hoot to work with, tons of fun-personalities and incredibly intelligent, witty comments all the time. Let's not forget Neil Stubenhaus, a brilliant mind always worth listening to.

MTM is a great label for melodic music in Europe, but did you have bigger plans for this album? I'm presuming by the amount spent on recording it that you did...
You know, a small company with tons of enthusiasm for your CD like MTM is a million times more worth working with than a huge major with a "nonchalant" attitude towards the vast variety of artists their catalogues usually embody. The guys at MTM, and I'm not just saying that because we signed with them, are great guys good for their word. Every single thing promised so far came through in an on-time performance manner and that...my friend....is worth everything to me!!!

Still, great to see MTM involved and great to see the record available. Nice to have a supportive label behind you?
Absolutely, as I said, they might be relatively small, but the professionalism is equal to a major!

Westcoast is obviously your style of choice, what artists influenced the songwriting and style of this album?
My initial idea was to combine the easy listening melodies of the Backstreet Boys with Lenny Kravitz-style guitars and half acoustic, contemporary drums, only embodying a few, "handmade" loops. I can't stand the unison sound created by most of the chart-tunes these days, seems to me that they all use the same two drum-loop-sample CDs. It's a shame because they would sound so much better with a real drum.

Where to for here as a recording artist Jay? Can you do it all again with another album, or do you have other plans for now?
We, meaning all the musicians already involved, agreed to be back in L.A. in December to start working on the second album. Rest assured, we will make it a notch more powerful and contemporary than its predecessor. I can't wait to let loose again with all the power given to me. The current album contains many melancholic songs, restraining me from singing full force.

What are you currently working on?
Writing a ton of new songs. We are also listening to what's out on the market again and may adapt a few songs from other songwriters again. If anyone out there reading this interview thinks they might have something for us, e-mail us at steamtrainrecords@usa.com

Anything you would like to add?
This record was originally produced with intentions to release it in the U.S. primarily. We are very excited about the wonderful reactions from Europe so far. Should the record make its way into the charts, we will tour Germany early this fall.

Many thanks for taking the time out to talk about the 9 Hours album.
Hey, the appreciation in on our side, thanks for checking in....anytime!

Tags:

2005

Jay Miles

Tue

Feb

Heartland (2005)

Artist:

Heartland

Categories:

Interviews

Heartland: Moving On To Better Things

Heartland's Steve Morris and Chris Ousey discuss the band's cracking new studio album Move On. Steve is highlighted in green and Chris in blue.

G'Day Chris and Steve,
Great to take this opportunity to talk to you about the smashing new Heartland album - one which I have a lot of enthusiasm for.

Chris - to you first - not too many people are still in the business closing in on 20 years since their debut album. We all know this business doesn't work on talent alone - how have you managed to stay in it for so long?
Has it been that long? That's truly scary, but I don't think a passion for music can ever be discarded. I also class myself as very lucky that there's always been people interested enough in what I do, to want to help and encourage me to continue.

I know I certainly hold this opinion, but do you consider yourself unlucky not to have broken into a wider audience and acclaim? You have a great standing within the melodic rock community, but with a voice such as yours, I think you are unlucky not to be a household name.
It's nice of you to put it like that, and it can be a little frustrating at times not to reach a wider audience. However it's impossible to be in control of that side of things, so you soldier on and hope the ripples will continue to spread outwards.

Steve - you have had an equally colourful career working with major labels and also major names such as Ian Gillan. You have also tasted success - do you prefer life as you have it now - busy always on different projects, but somewhat less intense than life under the pressure of a major label or artist?
I really enjoy working with Ian Gillan. I have written 3 albums with him, and a fourth is ongoing. Recently I played some guitar on a project with him, that looks back on his 40 years on the road. ['Gillan's Inn'] He's re-recording his old classics with such people as Joe Satriani, Jeff Healy, Ian Paice, Jon Lord, Don Airey and a host of other names, so it was an honour to be asked.
I re-recorded 'Loving on Borrowed Time', a number I co-wrote with him on the
'Naked Thunder' record. And also played 'Smoke', as did all the guitarists.
It's gonna be a killer record.

Or do I have it wrong - is it equally as pressurized no matter who you are creating for?
There is no pressure at all doing things like that, as all the people are so cool to work with. With 'Heartland' it's a different thing as not so many people will hear it.
Which is a shame as it's such a good record. So any positive vibes from it is a bonus.

Chris, you started out with Virginia Wolf on Atlantic and then Heartland on A&M Records in 1991, do you think your career and perhaps even your sanity were saved by the advent of the Independent label?
When Heartland parted company with A&M I did consider going to college to study psychology. At that time Khalil from Escape Music approached me and it seems I didn't need much persuading to get back in the saddle again.

What do you think might have been an alternative path for you after Heartland were dropped from A&M?
There's no way I'd still be writing and recording this style of music, if I'd had to continually rely on the support of a major record company. It's made it more possible for writers to have a greater say in their direction.

You have been with Khalil since Wide Open on Long Island Records and with Escape Music since Heartland 3. It's obviously a very strong relationship. I love sparring with Khalil, he is one of the most passionate music lovers in this business - what about you - do you creatively spar and argue over the direction of the band?
Steve and I have worked with Escape for a long time now, and though there are always going to be differences of opinions, I'm always right!....only kidding. The main thing is we always put the interests of the band first.

How about you Steve? You work with Khalil on several projects for Escape - you also seem to have a good understanding of what is required and/or desired by the label.
I have to say I prefer working at the very top, because of that fact. But playing guitar and recording music is no problem at all. Whoever it is with.
I enjoy working with Khalil, because he is so enthusiastic about our music. Sometimes we have to rope him in a bit as his passion obscures things particularly if he doesn't like the sound of some of the demos. But on the whole he sees the broad picture, a lot more than a regular A&R guy at a major.

Chris, you have been working with Steve for some time now - how would you describe what he brings to the band?
Steve is a truly accomplished musician and is the more organized side of the writing duo. When he sends me a backing track there's rarely any need to juggle the thing around. It's usually all there musically. I hope I then bring emotion to the proceedings and I like to think I've a good ear for a lyrical and melodic hook. After working together for this length of time, we have a good idea from the start where a song is heading.

What is the song writing process for you guys - separately or collaborative?
Steve sends me a few musical ideas and I work at my place to try and flesh out the tunes lyrically. Then I'll travel up to the studio and we'll rough out a demo. If it's working at that stage Steve will refine things and then it's into the main studio for drums, bass, vocals and guitar overdubs.

I always come up with the initial musical idea, which Chris will then add a rough lyric to We will then record a demo, to see how it is shaping up. If it looks promising we will then arrange it and polish it before re-recording a master.

To jump forward, I think each album has shown slight improvements each time, with Communication Down a highlight - but Move On seems to be a major jump forward again.
As regards 'Move On', we didn't set out to record anything in a different way, but the sound of the record changed when Tommy Hansen mixed it. He brought a freshness to the sound. But I also think the songs are stronger.

When formulating a plan for this album - what did you guys discuss?
We wanted some strong band sounds and heavier grooves on this record. I wanted to sing out a little more and we where looking for some gritty, ampy guitar sounds. Other than that I think an album kind of has a life of its own.

I must give huge props for the energy of the record. It seems the band gets a little heavier each release, but this one seems tight as hell. Credit to whom for that?
I'd say a lot of the credit for this being a tight album has to go to Steve for setting up some very strong guitar grooves from the outset. Also Mathias really holds down the bottom end on bass.

And best of all I think - some of the best songs ever on this album. And choruses!! Great choruses, which is something I have previously mentioned you guys could improve on. But this album has some killer choruses. What's your secret? :)
I tried to keep verses and bridges simpler on this record, leaving the strongest melodies for the main chorus lines. I think the contrast between the two make the songs work.

Something that stands out for me is the delivery of the choruses - the vocal arrangements and the extra pomp and harmonies surrounding all the vocals on the album. I'm told the guys from Grand Illusion helped out in this regard. Can you walk us through that?
Had a lot of fun recording the backing vocals in Sweden with Peter and Per (Grand Illusion boys). I'd finished all my lead tracks which always brings a sense of relief, so the sessions were very relaxed. In the past I've tended to do most of my own harmonies, and maybe not always given them the attention they've maybe deserved.
Anders did a great job directing and arranging.

I mentioned that the band has got increasingly heavier - or at least tighter on recent albums. Do you envisage yourselves getting any heavier?
There may be a limit to how far you can go and still pack a lot of melody into a song. Don't think I'd want to compromise on melody just to heavy things up. Having said that, if the two things can walk hand in hand then there would be no problem.

This is a myth. I have this argument with Khalil all the time. I don't care about getting heavier, but I do care about writing good songs, and if the song requires a bit of beef, all well and good. But not for the sake of making a 'heavy' record.

Chris, your vocals on the new album are some of your best and most powerful ever. Especially the extended high notes towards the end of several tracks. How did you warm up for this album?
I recorded all my lead vocals in just over four days, so I had to be careful to warm up well before heading off to the studio. I use a warm up tape which takes me around half an hour and usually freaks out the maids cleaning the adjoining rooms.

Have you Chris ever thought of returning to the style of the Heartland debut, which remains the only album you have recorded in that lush keyboard drenched AOR style?
I'm pretty happy with where the band are right now musically and don't really see the point in trying to recreate the first record.

Now...Heartland HAVE to perform live...this album is too good not to at least give it an airing via a few shows...is there any possibility of this happening? Perhaps a live CD/DVD at some stage?
I miss live work a lot and I for one would love to get out and gig. I'm going to be pushing hard for some live dates to promote this album.

Chris, what do you work on in the down time between Heartland albums? Do you have anything coming up in 2005 or even next year?
I'm working at the moment on what may end up going out as a solo record towards the autumn. It's early days with it but I'm enjoying getting the material together.

What are the chances of a new Distance album? Kenny has been locked away for far too long...time for him to get out again.
Well I'm going to be busy getting songs together for my record for a little while…I hope to be able to confirm some live work in the not too distant future also.

Steve - you are always busy...tell us about your current work on the new Change Of Heart album. I'm told it's going to be a good one!
I am in the middle of writing the new Shadowman record with Steve Overland. It's sounding really good. Strong songs with a different approach than the last one. A bit more rockier. I am also finishing off the 'Change of Heart' production of their new album which is sounding very good indeed.

What are the immediate plans for Heartland and the long term plans?
Heartland is always my major project so Steve and I will continue to write together, and look towards our next release.

Does it frustrate you both at all to see such great music ignored by mainstream media? There are so many great albums in this genre that you just know so many people would dig - but never get the chance to hear.
Do you just accept that and do what you can, or does it still bug you? (It bugs me!! haha)
I think I've probably accepted that there's always going to be a lot of great music out there that won't always get the airing it may well deserve.
On the other hand it's gratifying to get feed back from fans. It's what makes the effort involved in writing and recording worth while.

I don't get frustrated at all about mainstream media neglecting melodic rock. Why should they. People who buy CD's (10-18 yr olds) aren't interested in a form of music that has had it's heyday. So I accept that if we can reach anybody under the age of 20, we're doing bloody well.
But what bugs me is England. Its so fashion oriented. I was talking to Birgitt from 'Rock it' [German rock mag], and she says the German charts are much more objective. Now that really annoyed me.

It's been great catching up again and I appreciate your time to do the interview. Look forward to doing this again!
Thanks for your interest

Tags:

2004

Heartland

Tue

Feb

Oliver Hartmann (2005)

Artist:

Oliver Hartmann

Categories:

Interviews

Oliver Hartmann: Out As A Solo Artist

Oliver Hartmann steps out in the cold, under a solo spotlight...and delivers a monster album.

First off - I have to say how impressed with the album I was! I had no expectations of it, which I think was a good thing, as I was really blown away by it.
When did you start out to write a solo album?
Thanks a lot first. I started to work on songs for a solo album after I left AT VANCE in mid of 2002. It took more than 2 years to have enough material cause during that time I was still involved in some other projects like Genius and Empty Tremor. I didn´t know what the reactions on this album will be so I´m very happy about the result now and I didn´t expect the reviews to be so good.

Your time in At Vance and also as part of Empty Tremor has been more focused on melodic metal and progressive hard rock.
Out In The Cold is far more refined - a melodic rock album, albeit one with as much power and emotion as anything else I have heard you sing. What prompted your move to a more melodic canvas?
I had the idea of writing just good songs without the limitation of a certain style. Most people know my work from AT VANCE, GENIUS, AVANTASIA and EMPTY TREMOR which are all metal bands and projects. But “Out In The Cold” is more into the direction of melodic radio oriented rock/hardrock, even if I didn't make up my mind too much about the style it would be in the end. I just tried to combine modern elements with the influences I have from the 70s and 80s, cause these were the decades of all these great rockbands like Rainbow, Whitesnake, Journey, Free any many others. But I also a big fan of nowadays songwriters like Roachford, David Gray or Billy Joel, which are totally different. But they all have one thing in common: Good music. So hopefully the people will have the same opinion about mine, too ;-)

Speaking of emotion, the album is super intense. The energy and emotion wrapped up in the songs is amazing. I hope I am not getting too personal, but the lyrics and the angst in the songs seem to come from a very real place - can you tell us the background behind the songs?
If you say that it´s very emotional and intense than it´s exactly what I wanted to achieve. There are definitely a lot of lyrics talking about my own experiences there Out In The Cold but hopefully people don´t think that I´m a depressive guy ;-)
But real feelings are the most intense thing so it can be either love and trust or hate and disappointment. Normally I´m inspired by everything that happens in my life or around me. So some songs are personal experiences the same as just the things I´m thinking about. So it can be a real story and also fictional thing. But you should always to stay true with what you´re saying o you will reach the people best.

Was the process of writing and recording this album a draining experience, or a cleansing experience? Or perhaps both?
Yeah, it´s both. It´s maybe like a fight against yourself all the time to get it done in the end. Even if I had lots of ideas for songs it was a difficult situation being all in one: Songwriter, musician, producer and engineer. So in the end I was happy to have some great musicians at my side and to work together with Sascha Paeth in the mix.

Does the album say everything you wanted it to say?
Yes, hopefully – but just for this moment. If there was nothing to say anymore after the first album most great bands wouldn´t have done more than one record ;-)
Life goes on and you won´t stop to make experiences and you will be influenced by music every day. So this record is definitely not the last one :-)

Do you think folks like myself will be genuinely surprised and the quality and style the album?
Lots of people will be surprised, for sure but hopefully they won´t be disappointed about the little change in style. But as far as I can see most listeners can feel that it´s not just a solo album or a side project to try something different but a 100% me. So the reactions on this album were really great – more than I could expect.

The production quality is first rate - sensational! How difficult was it to get everything right in the studio?
Like I said is was some kind of difficult to take care of everything during the recordings and the production. Most parts like the basic tracks, vocals, keys, some guitars, arrangements and other things were produced in my studio over a period of 2 years. Then we started to record the drums and basses in Bodo Schopf´s studio in October last year and finally finished the mix and mastering in Sascha Paeth´s studio in Wolfsburg during January this year. We know each other since the recording and mix of AT VANCE´s “Only Human” and I always liked what he was doing. Besides that he´s a great guy and very trustable friend cause it´s not easy to involve somebody else when you´ve been working on your material for such a long time. So in the end I´m very happy with the sound and that he was my first choice.

There appears many layers within the music, especially with the addition of some lush string arrangements. Whose idea was that, as it adds a whole other feel to the emotion of the music?
I´m a big fan of orchestral arrangements and I worked a lot on that for this production to hopefully add a little more own style. It was also a great choice to have Miro in this production cause he´s very experienced in stuff like this so we worked over some of my orchestral arrangements cause I wasn´t always happy with some sounds and voicings. So he was a real bargain for that.

Do you have any favourite tracks? I'll recall a couple of mine - the uptemo Would I is a real stomper as is the opening track Alive Again.
But there is a couple of amazing ballads in I Will Carry On and the utterly brilliant Into The Light.
Thanks again for your compliments. It´s hard to judge your own music or to find a favourite tune but I like “Out In The Cold” very much because of it´s hookline the same as I like “I Will Carry On” or “The Same Again” what is very intense and “Brazen”, too. But I the end I will leave up to the listeners choice what´s best.

The emotion of such tracks as Into The Light is amazing...do you consider this album to feature your best ever vocal performances?
Yes, hopefully. It was the first time I had the total freedom to do whatever I want and it took me a long time fulfill my own expectations. I wasn´t limited by a bands or musics style or by the ideas of others. Another main reason is the lyrical side cause all lyrics are written by me so the personal relation to the songs are much stronger than it was before in other projects.

Your time in At Vance saw the band rise to be one of Europe's most popular melodic hard rock acts. What prompted you to leave the band?
After the “Only Human” - European tour in 2002 I decided to leave the band cause the internal situation had become really bad and it was clear for me that I won´t have any real influence on the bands´ musical and personal situation. Even if AT VANCE had started once as a 2-man project by Olaf and me it wasn´t possible to make a real collaboration cause it was always more than difficult working with him. That´s why there are maybe just some single tracks written by me and there is not even one written by both of us. Afterwards I participated in some other projects like Daniele Liverani´s Genius and Empty Tremor where I had much more space to add my ideas. Besides that I started to concentrate on the songwriting for my solo album.

Of all your other work as a singer on various projects and with others, what do you rate as your best work and why?
I´m most satisfied with my solo album which is maybe the best work so far cause beside other projects and bands it´s the most personal album I did. And that´s maybe what people can hear, too even if they didn´t expect an album like this.

Any chance of some solo live dates to promote this solo record?
Yes, hopefully. There isn´t anything confirmed for touring yet but first of all there will be some single shows here in Germany starting on the 26th of May with the release party here in Aschaffenburg where we will present the album live for the first time. But I hope that a tour will follow soon.

And will this be the start of a solo career that will see more albums follow?
Yes, absolutely. Besides all the work with promotion and other things at the moment I´m already writing on some new material so this album will definitely not be the last ;-)

What's next Oliver, anything you are currently working on you can tell us about?
There´s a lot do concerning the promotion at the moment so besides I´m working on new songs I sometimes perform with a Pink Floyd-Tribute called ECHOES here in Germany, cause I love live playing and it´s a balance for me to do that aside of my solo work.

Anything you would like to add Oliver?
Yes, I want to say hello to all your readers and I hope you will appreciate this album and that you will have the chance to see me live on tour during this year.

Many thanks for taking the time out to talk about the Out In The Cold album.
Thanks, too ;)

Tags:

2005

Oliver Hartmann

Tue

Feb

Thunder (2005)

Artist:

Thunder

Categories:

Interviews

Thunder: The Magnificent Album!

Danny Bowes talks about the very latest and most impressive Thunder album, The Magnificent Seventh, out now...

G'Day Danny, time again for a wonderful little interview....thanks in advance for your time.
Thank you.

Thunder is at it again - the album is out and looking like being every bit as successful as Shooting At The Sun and even more so. Are you a happy man?
Extremely happy. This LP is going down really well with fans both old and new, and it's going to sell a lot more than the last one, which tells me we must have been doing something right for the past 18 months.

It seems the band has slipped into a very comfortable pattern post-reformation. You have a very strong organization supporting the band, getting your releases into stores in the UK and the word out to fans via the Internet. How do you find working in this environment, as compared to the days on a major label?
I don't know about comfortable....
In the old days we never really knew what was happening (we thought we did), but we left a lot to our management and the record labels. Nowadays I'm driving everything along so I'm in the thick of it all the time, and it's very hard work, but it appears to be working so it's worth it. You're right, we've assembled a really good team and it's working well.

It seems the band truly listens to their fans, as Shooting started a path back to the band's best loved sound, and Magnificent Seventh is even heavier, more boisterous and is definitely the best album since those first two albums. Does the band have to work at achieving that fan appreciated sound and style, or is it just where you guys want to be right now?
We don't consciously plan the music around what fans want, but when you're as open as we are with meet and greets and website Q&As etc, I guess it does happen to a small extent. Luke simply writes the tunes and we smash them around until they sound right, but it's not a long drawn out process by any means. Let's face it by now we should know what we're doing. Strange thing, we knew this LP was going to go down well with fans, but we didn't think it would be as widely accepted as it has been. The reaction has been universally great, even in quarters that have been, shall we say "unkind", in the past.

How does the press in the UK treat you guys today - being veterans of the scene? I can pretty much see what coverage you are getting through Europe, but how is it in the homeland compared to the days of being pin-up boys for Kerrrang and the like?
Kerrang TV in the UK recently referred to us as rock legends, I guess that says it all really. We're all in our 40s, so to be a legend already is quite flattering I think (ha ha).

Let's talk about the new album a little...cracking lead single I must say. I Love You More Than Rock N Roll seems to me to be the perfect Thunder song - hard edged, tongue in cheek, big rocker. How has that track gone over live?
It went well from the first time we played it last summer in Germany. It's very catchy and very direct, easy to sing along with and good to dance to. What's not to like?

Your 17th Top 40 hit in the UK - that's quite something isn't it!
Yes, especially as we did it without a record label. This makes me feel very good. Loads of supposed "hot" bands can't achieve the same chart positions, and don't sell as many LPs either, so it shows having magazines plastering you all over the media doesn't always make the prophecy a self-fulfilling one. I suppose getting a hit record again after a good while proves that you don't have to be "pop" to be "popular".

The sentimental side of the and is showcased on the very smooth ballad I'm Dreaming Again - you are a natural crooner - what does it take to make a great ballad?
I'm not the one to ask. Luke is the writer, I just squawk away over the top of the band. I find it easy to do that, but I guess some of it comes from the fact that the songs are very good to sing, and written for my voice.

The tempo of this album is a noticeable lift over Shooting At The Sun - was that another intended step?
No, not really. Luke wrote the songs exclusively on electric guitar this time, rather than electric, acoustic and piano. Maybe that has something to do with it.

How did you get the great Russ Ballad involved in One Fatal Kiss?
Chris has worked with Russ for years. He mentioned to Chris that he was looking to write some rock songs again and Chris told me. I called Russ, Luke went over for a day, the song was the result. Luke said Russ was very nice and easy to work with.

I must ask as I always do - favourite tracks on the album?
The Pride makes me jump around the room, more than the others, so I guess that's my favourite today.

The USA remains an untapped commodity for you, despite a definite fan base there. It's obviously a difficult market to work, being so big, but does the band have any plans to tackle it with the new album?
Still talking to potential labels to work with, but so far no one has made me feel good. As you say it takes a lot of effort and commitment to have a go at the US, so until we find a good partner, I'd rather not do it.

How about touring plans - you'll do the UK obviously - what else is lined up for the upcoming summer?
Festivals in Europe, an Australian tour, Japanese dates, all being planned as I type.

Looking back - EMI Japan recently re-issued the Thunder back catalogue - any plans for an overhaul of the band's past releases in other territories?
No idea, you'd have to ask the labels.

You guys always record extra tracks - a nice box set of past b-sides and unreleased tracks might put a smile on fans faces!
Good idea, but you'd need to get all the labels to agree to do it. Good luck, I hope it works.

Any plans for another Bowes/Morley release after the work has been completed on this Thunder album?
We've not even discussed it, we're really incredibly busy satisfying the demand we've created with the new Thunder LP. Once it calms down a bit and we get 5 minutes to think, I dare say we'll get around to B&M again. I see no reason why not, we loved making the records before, it's purely a matter of time, or the lack of it...

Or perhaps a solo album at some stage? Or have you some other devious plan that is yet to be announced?
"We meet again Mr Bond" that kind of thing.... No, no devious plans I can think of, well none I can tell you about anyway, ha ha. I can't believe many people would be interested in a Danny Bowes solo LP. I'm not.

So leading from that - what's next for the band and yourself in the year ahead?
We're going to play live as much as we can, in front of as many people as we can, until we feel we can't do it any more. Then we'll have a little lie down for a month or 2. After that, we'll see....

Anything you would like to add Danny?
I have a fantastic collection of socks, all appear to be different, except for the fact that they all have holes in them.

Er, thanks for that! Many thanks for your time once again and take care for now....
Thanks for asking the questions.

Tags:

2005

Thunder

Tue

Feb

Plunge (2005)

Artist:

Plunge

Categories:

Interviews

Plunge: Jump into this new band...

Plunge frontman Mike talks about the band's debut album on Atenzia Records and working with SR-71.

Hi Mike....Plunge is a new name on the scene - can you introduce the band to us and tell us a little of the history behind the band?
Plunge is a new name to the scene in Europe but we actually started the band back in 1995 in Baltimore Maryland. It's your typical story where a bunch of kids from the neighborhood with a love for music picked up some instruments and then we were off. When the music bug bites ya, it's hard to shake.
The members of the band have changed a couple of times over the years but the line up we plan on sticking with is: Mike Ruocco - Lead Vocals/Guitar, Mac Calvaresi - Drums/Vocals, Brian Magill - Bass/Vocals and Chris Shucosky - Guitar/Vocals.

For those uninitiated, how would you describe the band's sound and what
song should people check out to best get what Plunge are all about?
Our sound is a really hard thing for me to describe. I feel like we incorporate aspects of bands like Bon Jovi, mixed with a little bit of the Goo Goo Dolls. I guess it really depends on the song you are listening to. As far as a song to capture what we sound like, I guess I would say "Hometown Hero", because that song means a lot to us and that sound is the direction we are aiming towards.

Hometown Hero the album has been on the market in Europe for a few months now, how have you been going promoting the record and getting the new name out there? Our label Atenzia Records has been focusing on print media and the internet to get our name out there. We have also gone to radio with the single "Wasted On Your Love".

Your involvement in SR-71 should also be mentioned - where did you team up
with Mitch?
Plunge used to open for SR-71 in Baltimore (where we are both from) before SR struck it big and we established a friendship then and maintained it over the last few years.

How has that helped you develop Plunge - which has been a long standing
idea for you?
Being in SR enabled me to learn the business from the aspect of a band on a major label, which was and is my goal for Plunge. Also I have had the opportunity to tour quite a bit and meet a ton of cool people along the way.

How many songs did you have written for the debut album and what selection
process did you go through to come up with the tracks you used?
We had written a ton of songs for the record but we all pretty much knew which ones we wanted to go on the record. That being said there were maybe 2 songs that didn't make it on the record but that is the way it goes sometimes. Some songs just don't "Gel" in the studio, so you have to move on.

I must say that I remain a huge fan of Running Away and One More Time. What
was the inspiration behind those particularly passionate tracks?
Thank you for the compliments on those songs. Running Away is a song that I had written about a particular time in my life and career where I felt unsure and alone about where my career was going and who I was working with. One More Time on the other hand is about a relationship I was in and the vigors of trying to make things work out when you know that the relationship in over, Love can be rather hard headed I guess you could say.

It looks as if you have been working the band pretty hard in respect to touring various places. Tell us about that and I'm also very interested in your AFE tours to Japan and Greenland. Tell us about those!
I truly believe that a major part of the success for any band, along with maintaining that success is Touring and establishing a loyal following. That being said I have taken it upon myself to book the band on an East Coast tour hitting every major city we could, along with establishing a relationship with the AFE (Armed Forces Entertainment) who bring entertainment to our troops overseas. We all have family in the military and we were happy to volunteer our services to bring these young men and women a little bit of home, wherever they might be. The first 2 tours we were offered were Japan and Greenland, both of which were equally amazing experiences. Being able to tour and see the world is an experience like no other.

How did you come to be in the position to do those tours? Any more planned?
We do not have any AFE tours booked at the moment but we definitely plan on continuing to tour in the US in the spring and overseas soon.

Has there been a lot of support for the band and album in your native USA?
I know it's a hard market to crack, but your sound is every bit as contemporary as many others doing chart business.
We have had good success in our Hometown of Baltimore and the surrounding areas but we have not broken "big" across the US, but this is what we are trying to do by touring the country and making records.
Are you selling CDs at gigs - how has that worked out for you?
We sell our record at every show; this is working out great and has been getting really positive feedback thus far.

What's the game plan for Plunge during 2005?
Plunge plans on touring on and off all year while preparing to make a new record sometime this year.

Favourite songs from the debut album? What go over best live?
It's hard to say what our favorite songs are; I guess it depends on our mood. The songs that go over best live.... I think I will let the audiences decipher that....

And what's the latest with SR-71? Here We Go Again was a killer album - I
really enjoyed it. I find it disappointing that it hasn't been getting solid airtime in the USA thus far.
Thank You, the music business and sometimes things that have great potential never see the light of day, and unfortunately there is no real explanation why.

Anything you would like to add Mike? Anything I missed?
Not really, you asked some great questions. Thank you for your time!

Thanks for taking time out to do this interview!
My pleasure.

Tags:

2005

Plunge

Tue

Feb

Pride Of Lions (2004)

Artist:

Pride Of Lions

Categories:

Interviews

Pride Of Lions: Fulfilling Their Destiny.

Jim Peterik talks about the spirit behind the music and the making of the new Pride Of Lions album, not to mention what else he has in store for 2005.

Ok, Jim - first of all, well done on creating another great slice of classic melodic rock. Thanks Andrew - coming from a man that has "heard it all" in classic rock that is a great compliment!

Going right back to the time following the release of the debut - that album also gained some amazing reviews and personal feedback for yourself. Did you feel any pressure building in the time following that to start work on a follow-up that would have to top the work done on the debut?
I happen to work well under pressure. When Frankie and I were asked to write the theme for Rocky 3, we had one week to write it, record it and mix it! Not to mention rewrite it a few times. If there seems to be more urgency and a fresher sound on this record it is because we didn't have time to over-think it and process it to death. In some cases I would write a song in the morning and be cutting it by 10 o'clock. The band would pick up on the spontaneity and translate it through their playing. The Courage To Love Somebody and Born To Believe In You were both created in that fashion.

When did you start compiling ideas and writing songs for The Destiny Stone?
The first song I wrote for the record was "Second Hand Life" - on Jan 1st 04 at my cottage in Saugatuck Michigan. I know I had a good one and it gave me the confidence to keep going. The next one may have been The Destiny Stone. At this point the concept of the album started taking shape.

You have previously spoke of a phone call from your record label Frontiers asking if a new album could be ready for release some time earlier than anticipated - that being now. What point were you up to when that call arrived and how did that change the way you had been working?
When I got the call from Serafino, the CEO of Frontiers, I had probably written one of two songs. I thought id kick back leisurely all year and maybe put out a Pride Of Lions album in the Spring of 05. After he gave me the challenge I went to work like a banshee and started jamming at the piano and guitar, searching through my idea tapes and going through rafts of notebooks for the best ideas I had.

Can you run us through the recording process for you?
All or most of it at least was done in your own studio with producer and buddy Larry Millas right?
My engineer and co-producer Larry Millas has been my right hand for many years now. We've known each other since 3rd grade and formed the Ides Of March together when we were 14 year olds. I have an all pro-tools HD state of the art system in my home with amazing Neve mic pre-amps and all the plug inns and outboard gear known to man.
But none of that matters without great chemistry between the musicians. The Pride Of Lions band is truly amazing and makes it a pleasure to record. We try and record as much as we can "live" as the song is going down. Usually Toby and I will be singing the guide tracks although these are usually re-done later.
But getting the spontaneity on the tracks is key - the way the musicians play off one another. The little "mistakes" that end up sounding great. Part of the reason the Pride albums sound so good is the quality of the chemistry between us all. I don't go for the theory that friction creates great music - that's never been my experience. The best Survivor albums were where the group was getting along. The weakest ones in my opinion suffered from lack of communication and negative vibes.

At what point did Toby come into action, or was he there from the start?
Toby was there from the start. It isn't long after I've written a song - and sometimes when the song is in progress - that I will play the song for Toby to hear him sing it - to see if it suits his voice and to see if he can get behind the song enough to give it his usual "from the heart" performance.
If he doesn't feel comfortable with the song we scrap it - at least for now.

How has your working relationship with Toby grown from those initial first days?
We are more intuitive with each other now. We have a secret code of jokes, expressions and vocabulary that we draw on to lighten things up. that's what comes from being on the road together and sharing so many hours in the studio. Now we just look at each other and we crack up. In the studio - I can just say - Sammy Hagar - and he'll know I want it grittier - stuff like that.

What does Toby bring to the recording process that no-one else can?
He brings his amazing voice. Also his sense of the absurd. You can't get too serious about it all around Toby. And he's a super hard worker. He can go all day until a song is just right - sometimes he'll do like 3 or 4 songs in one day! His voice never gives out.

Toby has an awesome voice - that goes without saying. But as an experienced campaigner, what do you do to bring the best out in him and in turn, what does he do to encourage you?
I just say - ok that was amazing - now let's beat it. I'll know when he has given his best to a song. With my songs - he'll sometimes question a lyric - like he did on "Light From A Distant Shore" - his instincts are very good. The original lyric was "I'm a ship foundering lost on the ocean" - he said could I change that to "I'm a ship, and I'm lost on the ocean" - he said no one's gonna understand what "foundering" is all about -- and he was right!

You gave me a sensational track by track commentary, but I'd like to touch on a couple of additional things. There are a couple of tracks on the album that have a distinct feel to them - as if they were written for a movie score, or at least, would be perfect in that role (Back To Camelot & Man Behind The Mask).
What drives you to write with that style?
I enjoy making the "big statement". I think cinematically when I write and that comes across in the songs. My biggest success has been in film with rocky 3 and 4 - and I don't think that was pure chance. I love to visualize a story and set it to music.

And from reading your analysis of The Gift Of Song and then listening to the track for the first time - "When Toby did the final take there wasn't a dry eye in the control room - he made it his own. To me the defining line of the song - and one of the recent additions is, 'just let me leave you with one melody the world can sing when I am gone'..." - I absolutely concur! Is this Toby's finest moment to date?
It blows me away every time I hear that line with Toby's delivery - I keep hitting repeat - and its our own album! You can imagine how it sounded as it was going down! There wasn't a dry eye in the studio. Toby comes in at the end and says "how was it?" and we're like all messed up!

And as far as the songwriting goes for this track - wow Jim, where does such a sweeping, passionate epic style come from?
I guess it comes for a passion for life. I have a lot to say before it's all over and I've got no time to waste. There is so much that needs to be said about appreciating each moment and helping each other in life. I feel it's our responsibility to absolutely make the most of whatever gifts we were given in life.

Now there are two albums, I guess we can state that Pride Of Lions has it's own sound - away from Survivor and other projects you have worked on. How would you describe the area in which you work/write?
Really I am not doing anything different than I ever did. I'm the same guy who wrote or co-wrote all those Survivor songs. I feel the same as I did and I look at life in much the same way. I hope I have gained a little wisdom since then. I also don't have Frankie to push me and to keep my instincts on track so I have to work a little harder doing it myself. I use Toby and Larry Millas as my arbiter these days when I have a question of what's cool and what ain't. Also people like Serafino at the label and friends that I trust for an honest musical opinion. I feel that POL is developing a sound of its own - incorporating some of the vibe of Survivor and 38 Special but with a unique identity.

I know there is a certain expectation of the sound and style when Jim Peterik is involved in anything. Pride of Lions sounds as if you are trying to break out of the traditional expected mold, while remaining true to your own history and natural instincts. Can you explain your approach to this?
I think there are parameters in melodic rock. I think you can push those parameters but you must push in the right direction. I would not try to foist country or blues, for instance into the form. I can see stretching things as we have done into more challenging song forms and conceptual concepts. I will always include the radio ready stuff - that is a big part of my background. I love a good 3 or 4 minute commercial-to-down on the car rocker. But I also like to stretch thematically into somewhat deeper realms. I don't think the 2 forms are mutually exclusive - they can coexist on one album in my opinion. Its like we don't stay in one mood through out a typical day. We are alternately carefree, serious, joking and crazy and thoughtful. I like a record that reflects it all.

You are signed to a label which also has to live up to expectations from its followers. And you have previously said that they push you to create your very best work in line with what those expectations I previously spoke of are. The quality of the two albums to date would suggest this works well for you both - do you agree?
We push each other to do our best. Frontiers was a label that came to me and re-confirmed what was the best about my writing. They expect every record to be Vital Signs or better. So I better deliver! I have never worked harder than on these 2 records- but I've never had more fun. Toby is so easy to work with yet he will never sing anything he doesn't believe in. If he can't wrap his heart around it - it's gone.

Jim, I know you have wide and varied tastes and influences in music and have demonstrated the ability to adapt to just about any style. Outside the constraints of label or fan expectations - do you think you would find yourself writing and recording a different album than what you did?
Not for pride of lions. I get to flex my soul and R&B chops with the Ides Of March and with World Stage its pretty much anything goes. When I write with Skynyrd its southern rock - with 38 it's southern pop. So when I come to POL I can stay purely in my favorite and most comfortable genre - melodic rock.

Creatively speaking, do you feel the need to go out and create something that would be "outside the box" from you as an artist - just to express yourself? And if so, how would you go about that now that POL is gaining a really strong following?
I would actually push POL a bit farther next time around. I am considering going in a very dramatic almost conceptually themed album next time around where there would be a real common thread running though every cut. Even more tied together than the Destiny Stone. It would be more progressive with greater echoes of some of the touring greats of the 70's - namely The Who. I have a few exciting concepts now and am trying to decide if this idea would be best suited to POL or World Stage. If it comes out as World Stage it will include Toby as a running player.
With POL I hope to continue to focus the sound and make musical statements that ring true with the audience. As humans we share very common experiences – love - lost love - strong emotions – politics - concerns and worries over the world situation and the pure joy of forgetting all about the world and getting immersed in the music. There is nothing like music to rejuvenate. That's what I want to do. It's about hope.

Just on that growing following - it must make you very proud to be once again in a position of being described as one of the best in the genre?
At age 54 I feel very blessed to be on life number 4! I guess I have 5 lives left to go. of course the good response only wants me to do even better- I love a good challenge!

Few artists obtain the success you did in Survivor - but not only are you finding a new life with Pride Of Lions, you also did it pre-Survivor with Ides Of March. Now once may be getting lucky, so what do you put your ability for success down to?
It's a combination of hard work, a seed of talent, plenty of great people around me - and damn good luck!

You have written music with some of the very best people in the business - Sammy Hagar, Don Barnes, Kelly Keagy, Kevin Chalfant - just to name a few. From those and the other greats you have written with - who do you think has been the most challenging to work with, who has pushed you furthest?
I think Steven Tyler pushed me perhaps the hardest. Even though the 2 songs we wrote have not come out yet - he pushed me to the limits and we wound up with the best. Kelly Keagy also pushes me. All my best collaborators won't let me up till we have the best!

And which partnership has been the most productive and rewarding for you?
Frankie Sullivan and I obviously had a great writing relationship from '78 to around '95. No matter how we got along in everyday life - when we wrote together it was an island away from the storm. He seemed like a different person at these times and perhaps - so was I.

Is there anyone you would dearly love to write with at some stage still to come?
I think there are many - but more than looking for a person - I am looking for challenging situations to hang my writing on. Movies - rock operas – plays - you name it. Obviously the more talented the partner - the better. Todd Rungren would be on my short list!

I must commend you and Frankie and Jimi also for contributing to the excellent Ultimate Survivor compilation released a few months back. You must be very proud of such a hit-drenched package!
It's something we actually collaborated on albeit long-distance. We were pretty much in agreement as to the tunes that had to be on the record. I was disappointed that we couldn't fit Ever Since The World Began on the record - but Man Againt The World won out. It was a hard call.

I know you still hold Jimi Jamison in high regard, but there remained tension with Frankie Sullivan. Do you ever see a time in which Survivor might reform for one particular show, or for any other reason?
If the rock and roll hall of fame ever inducted Survivor - I would certainly be there to acknowledge what we achieved together. I don't know if that will ever happen though.

There is a series of unreleased Survivor songs circulating, being presented under the banner of the Fire Makes Steel title. It's a collection of 15 tracks from the mid-90's period (I think) when the band was recording new material with Dave Bickler. Have you heard of these tracks (Someone Else's Sleepless Nights, One Step Ahead Of The Flame, No Boundaries...etc...) and do you think they might ever see the light of day in a decent quality?
That is up to Frankie really. I heard that he and Survivor re-recorded Fire Makes Steel for a proposed new album. There is some great stuff there that we did with Dave between 93 and 96 - there must be 20 songs that were recorded mostly at my home studio. I particularly like "One Step Ahead Of The Flames."

You are always a man with a lot on his plate - what is on Jim Peterik's calendar for 2005?
We want to get to Europe and Japan and play live with Pride Of Lions. We have a powerful show. Toby is killer onstage and I get to do my thing. Also - there will be a new Ides Of March studio album, also I am going to release probably on Frontiers - "Songs From The Vaults" - master quality versions of the bad bootleg out there now of all the demo work I did between 83 and 2000 (excepting the Survivor demos) - prototypes of Mecca songs - 38 Special - John Wetton - Sammy Hagar- on and on rarities - it will be a 2 disk set. Also - I am doing a big World Stage show on Feb 5th at College of Dupage. I have added some new faces like Rik Emmet of Triumph and Tom Keifer of Cinderella. There will be may regulars there as well - Kevin Chalfant - Toby Hitchcock - The Ides Of March - Jeff Boyle - Cathy Richardson - Anthony Gomes - Kini Hayes - Lisa McClowery (the girl in the Sound Of Home video - I'm just finishing a record with her). And more to be announced. We are also doing a live DVD with Frontiers for Pride Of Lions. There will of course be Ides Of March dates in America as well. We just put out our 40th year anniversary concert DVD and it's selling well. Other than that nothing is happening!

Looking back over an amazing career - what periods in time are the highlights?
I think that this very minute is the highlight!

I know you are a very passionate guy who seems to always look towards the positive in people and in life. With that in mind, looking back again, would you even contemplate any periods where you struggled to enjoy the situation?
I've been through down periods just like anyone else. I usually do some hard searching and some heavy praying to pull me out. I ask for answers and they inevitably come - not always as quick as we'd like. It's funny - but it is the very times when we feel that we can't face God - that we need him the most.

Ok Jim, to wrap up - what's next for Pride Of Lions? Could we see a full band tour?
Yes absolutely. We are looking at 3 major festivals right now.

Anything you would like to add?
Thanks you to you and your readers to keeping this flame alive. I don't do it for the money - I do it for the love of music and getting the message across.

Many thanks again for always making the time to be interrogated!
I never mind being under the hot lights when it comes to music.
I'll sweat it out with the best of 'em. Rock always - rock often - rock steady and above all -- KEEP ROCKING!!!

Thanks Jim!
Check out Jim at: www.jimpeterik.com

Tags:

2004

Pride Of Lions

Tue

Feb

Jeff Northrup (2004)

Artist:

Jeff Northrup

Categories:

Interviews

Jeff Northrup: Producer, engineer and musician!

Jeff Northrup talks over his recent work on the MR.com CD, plus Shortino/Northrup, working with Johnny Edwards and much more...

So Jeff, you have just finished mastering my own CD Compilation - after doing a great job on Volume 1. Thanks again. Can you walk us through the mastering process?
First of all, thanks for letting me be a part of such a great collection of songs and artists!!
Mastering is definitely the icing on the cake so to speak, of making a good mix sound even better. After a song has been mixed, there are usually some frequencies that are fighting each other for their space in a song. i.e, the bass guitar may be in the same frequency as the kick drum, or there might be too much low end from the guitars fighting with the bass. What this causes is the song to sound a bit muffled in the low end of sound.
By isolating these unwanted frequencies, you can sort of weed out the ones that are less desirable which makes that part of the mix sound clearer. The same goes for the high frequencies. There may too much high end or not enough.
It is also possible to make in instrument such a guitar that was mixed to low to stand out more by boosting only a narrow bandwidth that enhances it and therefore makes it perceived to be louder. Then there comes the compression. By compressing the entire mix and or certain frequencies, everything becomes not only louder, but makes the mix sound more even. The kick drum and bass will get punchier, the guitars get crunchier and everything finds its place in the mix. However, it is just as easy to make a good mix sound bad if there is too much re-equing or too much compression/limiting. It is truly an art to make a good mix sound great and compete with the CDs that we all purchase in stores, or online.

What are the most challenging aspects of this aspect of recording and why is it so important to get it right?
The most challenging part is not to add or take away too many frequencies because the mix will become either too bottom heavy and blow out your speakers, or too thin and make the mix weak. Same with the high end. Too much and it rips out your ear drums, too little and the mix won't shine. It's very important to get it right because this is the final product going to the masses. Or if it's a demo you want to get the best sound before it hits the ears of the Record Labels.

To those that may not be as familiar with this process, when a label talks of having the original music re-mastered, what does that mean and how can it improve the quality of the recording?
Labels that want something re-mastered usually do it because it was mastered a while ago and today's mastering is a bit more advanced. Generally, you want to get the original mixes (pre-mastered) and work with those. Because most older mastering sounds a little duller than today's and that they mastered records at lower levels than today, by re-mastering you get a punchier, clearer and superior sound.

You are also an accomplished producer - do you find it hard to "produce" yourself, or wouldn't you have it any other way?
Actually, producing myself is too easy. I wouldn't mind having a co-producer or a great producer step in and take over. A lot of magic happens that way and others will often times have ideas that enhance a song that I might not have thought about.

You also have a song included on my new Compilation release, another cracking rocker featuring vocalist Johnny Edwards. You were working with Johnny on an album - what happened to that and is there any chance some tracks will be released? Or maybe the album will be finished one day?
Johnny is one of the greatest and relatively unknown singers. A few years back he moved back to Kentucky with his wife and kids to really start over and get away from the music biz.
I talked to him about doing a record and he was excited. After recording some songs (one of which is the song on MR.com V2), we had a deal and contract on the table. Johnny decided shortly after this that he just didn't have the time or desire to continue. It is a shame, but I have to respect where he is coming from. There a few songs from these recordings that are on the Shortino/Northrup "Afterlife" CD. And no, there probably will not be any future CD with Johnny.

Was the from the archives release of the original Northrup album with Johnny a success? It was certainly met with favorable reviews.
It was a success in that it got a lot of attention and brought me back into the minds of those who knew of me and into the CD players of those who hadn't. I gained a lot of new fans from it.

Let's talk about the new Shortino/Northrup release. It's second time around for you and Paul. How did you get started on this release? And why was it 10 long years since the last album together?
Well, Paul and I had been in touch for quite a while and we always talked about another record. I had just finished recording the XYZ "Letter To God" CD with Terry Ilous. We recorded drums at Paul's studio. Again we talked some more. After Johnny Edwards bowed out of doing the record.....whalah! It was the perfect situation and the timing was right. I started writing a lot of new songs and we incorporated the songs I wrote with Johnny and it wasn't long before we had the songs for the album. It did take ten years due to timing and the fact we both were doing other projects.

The original Shortino/Northrup was also recently re-released. That's a very nice little package, with the bonus tracks etc...Afterlife is a very moody and lyrically dark and descriptive album. Where did the songwriting influence come from for this album?
Well, except for the songs that were lyrically written by Johnny, I wrote everything else. Unfortunately I was going through a divorce after 18 years and was very depressed. Therefore a few of the songs are specifically about that. Kind of a healing process. The song "Like A Stone" was written as a goodbye song to my ex.
I try not make my lyrics generic, so I put things more metaphorically and poetically. However, there are a few songs that have nothing to do with that subject. Until the album was finished, I didn't really realize that it was as dark as it turned out. But I have to admit that the final result is something we are all proud of!!! There are some kick ass jams on too.

Do you plan on starting work on the next album any time soon? What do you have in mind for the next album, when it comes?
Oh yeah!! I have already begun the writing process. The next record is gonna be a mother F*&^%r. I am going to let it all hang out with some killer rock. I haven't decided who to work yet. Hey, if there are any singers, bassists etc. that are interested in being a part of it and collaborating, I would love to hear from you!!! Any suggestions anyone???

You also hooked up with Terry Ilous several years back. How did you originally get started?
I was originally being set up to replace Marc Diglio back in 1993 when he first left the group XYZ, but they had just found someone else. When they finished the tour, Terry contacted me and we still together today on various things.

The Cage album is rather underrated I think. Any chance that could be re-issued?
Yes. Terry and I have discussed re-mastering and re-releasing Cage with some bonus songs.

As XYZ, you managed to record a great hard rock record that was also quite contemporary. Were you happy with the results from that album and the fan response?
I am very happy with the record "Letter To God". There are some fantastic tracks on it. Everyone played and sang their asses off. Terry wanted it to be a little more modern than the previous XYZ and it is. As far as fan response, it was about what I thought it would be. Very mixed. Some loved it, some thought it was a bit too different.

Might you do another XYZ album soon - and if so, what have you discussed with Terry as far as style for this album?
We have discussed doing another album soon. I'm not sure he wants it to another XYZ record though. We'll have to see. What do you fans out there think????

You are right in the middle of this melodic rock scene as it stands today - complete with the challenges of corporate changes and file sharing etc....where do you see things going?
I really believe that the Melodic Rock scene will always be around. I do see a slight shift in music here in the states with bands that actually incorporating some of that sound! A lot of people just prefer to hear great music, vocals and guitar playing. As far as where it's going, boy even the record companies are still trying to figure this out. Perhaps a lot more bands will be trying release there stuff from there web sites and get independent distribution!

Is it important for the artist to remain in ownership of their own music?
Definitely. Especially if an occasion such as getting one or more songs placed movies, television etc. Without retaining your rights you are screwing yourself. We artists get screwed enough as it is.
XYZ for example did their own release of the album for the USA.

What about the other project you are working on - the 11:11 project. Can you describe that to us?
The 11:11 Project is a little bit different than what people are used to hearing from me. It's balls out music, but it's definitely more modern. Sort of Nine Inch Nails meets the Beatles. A bit psychedelic even. It's the only recording I have done where I am singing and playing all of the instruments. I am very proud of it. It was signed and ready to be released here in the states, but the label went bankrupt just before.

Outside of music you have some interesting hobbies...tell us about the dinosaur bone hunts!
I have been infatuated by dinosaurs since I was 5. I studied them and learned about paleontology and digging bones. I did my first dig about a year ago and am going on my third dig this month!! I have quite a collection now.

Anything else in the back of your mind you would like to tell us about Jeff?
As long as there people all over the world that appreciates and is buying killer music, I will continue putting out great product. I don't see an end to it in the near future!!

And is there anything you would care to add?
Yes. Thanks to everyone who supports Rock music!! Without you, you wouldn't be reading this now. Also, thank you Andrew for having this great web site for people to come to and be able to not only find great bands and read the latest on Melodic Rock and other styles of music, but also be able to discuss it (and have interesting posts) amongst each other. It is also a huge benefit to us artists!!

Plug your web site Jeff - where do we find you?
Please visit my web site at www.jknorthrup.com. Drop me an e-mail, sign the guestbook and find out a little more about me. I also have a page where you can reach me about Mastering, mixing and recording. To all the musicians out there, if you would like to contact me about collaborating (writing/recording/mastering etc.) on a record, I would to hear from you too!!!!

Thanks again for taking the time out to "chat"!
Peace!

Tags:

2004

Jeff Northrup

Tue

Feb

James Christian (2004)

Artist:

James Christian

Categories:

Interviews

James Christian: Meeting the man again....

James Christian talks about his new solo album, a follow-up to the highly regarded Rude Awakening CD.

James, Meet The Man comes several years since your last solo album. Earlier in the year the House Of Lords album was released - what else have you been up to in the time since Rude Awakening was released?
I have been very busy during that time. I have gotten married and I am now a father of a beautiful little girl. I have also been producing music for other artists. So 10 years goes by rather quickly.

Meet The Man features songs from your vast catalogue of music - a choice was obviously made to record tracks demoed in the past - where any newly written tracks included, or are they all from the catalogue?
All are from the past catalogue. There is so much great material that was never recorded and really deserves it place on a CD.

Why look back in the first place? What was the criteria for a song making the final cut for this release?
The reason why we look by is to take a glimpse into one of the greatest eras of music ever. Why listen to old Led Zeppelin, or Beatles. We see bands re-recording old songs all the time. That really shows an appreciation for the music I grew up with.

Were there any songs that didn't make the cut you were hopeful of including?
No I will leave that for another CD. There is much more material that I have done in my career that I would like to see on CD.
Does this mean I will never write anything new? No. I have plenty of ideas for new material, but I still have a desire to get the material from my past out there. It's so important to me.

What time frame do these songs come from?
A span of 12 -15 years. That seems like a lifetime but it also feels like yesterday.

Can you offer a comment on each of the songs:
After The Love Has Gone - This was done a Bruce Gowdy's studio with Chuck Wright and myself. We did this song so fast that I was not sure if was even a good song. I realized after I heard it years later that it was actually very good.

Know You In The Dark - I did this song for Judith Randall as a demo at Curt Cuomo's studio. I hated the demo as I thought the recording was very poor. I thought the song was good and that is why I recorded it.

Surrender Your Love - This was the last song I chose. Someone gave me a CD about three years ago when I was producing a Shanghai CD. I did not listen to it till just this year. There were about five very good songs on the CD. I felt this was the best of all of them. The writer was Rick De Paoli.

Meet The Man - One of my favorite songs. This is a track that my wife Robin Beck found for me. I glad she found it.

End Of Time - I recorded this song originally for an artist named "Pata". He is very famous in Japan. I wanted to re-record it for my CD as I really loved the song.

Love Looked Into My Life - Very nice song by both Judithe & Robin Randall. A thoughtful ballad.

Leave Well Enough Alone - Another one of my favorites. This song was written is a females key and although I could have brought it down a few keys, I wanted to keep the energy of the song so I left it up there.

Strong Enough - Written by Stan Bush. Great songwriter. One of my favorite songs I did with HOL was "Love Don't Lie"

You Should Be Blue (All I Could Feel Was Blue) - I thought this was an interesting track when I did the demo. I always thought that with a heavier band track it would pop out.

Circle of Tears - Another Judithe & Robin Randall song. Those girls could really write. I am fortunate to have had their input.

Hold Back The Night - This song should have made it onto an HOL CD but never did. It was written by Lanny Cordola, Chuck Wright and myself. I think it was one of our better songs. What a mood it has.

The House Of Lords album was recorded in LA, while your vocals were recorded in your studio in Florida. The same again with Meet The Man. This time with producer Fabrizio V.Zee Grossi involved. What did you think of the idea for Fabrizio to handle the music, leaving you only to worry about the vocals?
I never worry about vocals. I know I will be able to accomplish what I set out to do. There is no difference by me being in their studio or mine. I don't punch-in a lot so once the record button is pressed, I sing the song through. Then after I have three or four tracks, I put together the best performance. I can do that myself.

How do change your thinking and the way you work to create an atmosphere that will reflect the energy of the songs when only working on half the project yourself?
Well even if I was with the whole band in the same place, I would still be in the vocal booth by myself. I have a great imagination. Getting inspiration is so easy to do when I am singing.

Do you put some degree of faith in the team at the other end to do justice to your performance?
I have faith in talented people. I listen to their work first and then let them do their job. When I am asked to do a session for someone. I appreciate the same courtesy.

Dare I say it - could one afford to do such a thing based on your life outside music and the costs of gathering everyone in one place?
The costs are insignificant when you realize that most musicians have their own studios. We have a luxury that was not available 15 years ago.
Then we were ripped off royally at 100 dollars per hour in most studios. Now with technology the way it is, we have do our tracks in the comfort of our homes. You still have to have some talent mind you.

What is the difference in the scene now, compared to when House Of Lords broke through and also when your first solo album came out?
When House Of Lords broke it was a wonderful time for music. Fans were coming out to concerts in record numbers. Great music was being recorded and most musicians generally had some real talent. Things today have gotten much better but there was a period from 1990 to maybe 1999 where some of the garage bands should have never made it out of the garage. Now we are seeing much more quality in the musicianship, vocals and songwriting.

I know you have a wealth of unreleased tracks still sitting in the vaults - is there any chance more might see the light of day - even as possible Internet released tracks for willing fans to purchase?
Yes I have many unreleased tracks that go all the way back to Jasper Wrath.

What's next on the James Christian calendar? Another solo album in time?
Right now I am working with Robin Beck for her new Frontiers CD. It will be a great one.

Yeah, I had heard Robin may record a rock album next! I do like her Wonderland release!
I happen to love the Wonderland CD. Again, I am a believer in strong songs. Every song on her CD is quality songwriting. My only regret is that the record company was actually living in "Wonderland" I can hear them now. I "Wonder" how we should promote this record? They never did.

Any possibility of working with House Of Lords again?
I love the HOL boys and would work with them anytime.

You work long and hard in the studio - do you miss performing live at all? Is there any chance that might still happen again one day?
I love performing fist and foremost. If the opportunity arises, i will be there.

Anything you would like to add?
Yes Andrew, I would like to say that although you were very hard on my performance on the last HOL CD, I still think that people like yourself are responsible for keeping MelodicRock music alive and kicking. I do appreciate it.

Thanks for not kicking my ass James!

Tags:

2004

James Christian

Tue

Feb

From The Inside (2004)

Artist:

From The Inside

Danny Vaughn

Categories:

Interviews

From The Inside: Danny Vaughn and his return to a more melodic sound.

Danny talks about this new project and his upcoming tour with the classic Tyketto.

Hey Danny, great to see you back in action with the new From The Inside
release.
After two well received Vaughn albums, what drew you towards this project?
I'm always looking for challenges. Things that I haven't tried before. I feel that a musician gets stagnant if he or she only works along the same set lines all the time. I have never attempted to interpret other people's songs on a recording before. It isn't as easy as you might think and I really enjoyed trying our best to make these songs our own. Also, I was very unhappy with my previous record label and this opportunity from Frontiers seemed like the perfect way to test new waters. So far I'm very happy with this arrangement.

There was obviously a certain willingness to record some other people's
songs and also return to a more AOR sound, what was the thought process
going into this record?
It was something like, "Here goes nothing!" You have to be willing to fall on your face sometimes. I talked to several friends and was advised that if I did an album that returned to my melodic rock roots, my fans would probably be okay with that!

How closely did you work with Fabrizio and the team of musicians involved?
You want to know the truth? I never met any of the players. This was the most "hands off" project I've ever done. Normally I'm involved down to the last detail but this time I simply had to place my trust in Fabrizio, a man I had never met, and let him put all the tracks together once we had discussed how we wanted them to come out. I felt that, no matter what, Frontiers would allow me to back up and not do something if I felt it was bad, stupid, or a compromise. That became evident when we sifted through quite a few songs to come up with the track list that we now have.

Did this feel different to working alongside your brothers in Vaughn and
Tyketto - which have always been kept close by previously?
Completely and utterly different. Again, which was a great reason to do it! Change keeps you young!

Did you personally pick the songs you wished to record?
Yes. I was given a master CD of about 25 songs and waded through all of them. Some were weeded out right away. Some were put into the "maybe" file and a couple, like "Beautiful Goodbye" were instantly desirable. We went back to the well several times. Frontiers were supplying the songs from their stock of writers and publishers and I was going through them all with Fabrizio.

At what stage did you think of bringing in a couple of new tracks of your own?
It was understood from the beginning that I would contribute at least 2 songs. As it worked out, I wrote 3 (one of which is only on the Japanese version) and co-wrote 2 others.

I must admit to liking those tracks the most of all the songs featured.
There always seems to be a rich tapestry of storytelling and honest emotion with your songs. What do you attribute that to?
That's very kind of you to say. I guess one of the things that I do when I write lyrics is I try to never take the easy way out. If something is bothering me, even if it fits just fine, I'll end up changing it so I don't cringe later on. I obsess a little too much I suppose, but I just can't write a song with "dance" and "romance" as the tag rhymes. It's been done too many times. I'm not saying that I'm incredibly original, because I'm not. But my inspirations are guys like Don Henley, Bernie Taupin, or John Hiatt, who always find a way of expressing themselves that is unique to themselves. I'll never be as good as them, but it's something to strive for.

I seriously love Is Anybody Watching and Blessing In Disguise. Tell us
about those tracks - when were they written?
"Is Anybody Watching Me" was written for Tyketto several years ago. Being a ballad it kept getting squeezed out by other ballads that we had written. So it's sat in the vault for many years waiting to be revamped and revitalized.
"Blessing In Disguise" was written about when I first moved to Nashville. It's all about trying to roll with what you are given rather than railing against it.

And Nothing At All - another highlight from the Vaughn catalogue! Tell us
about that song...
That one was my headache for the album! It was the last one that I finished. I had recorded the vocals to everything else and had only one more day to finish before I had to leave town. Fabrizio needed all tracks done before I left, so there I was on the last day with his music, which I knew that I loved and could write to, and a blank sheet of paper. Every time I had tried to write something I just came up blank. Finally there was no time left and I forced the issue, which is something I never usually do. I sat down and over the course of a couple of hours, sketched out what I felt was a working draft of the lyrics. While I had been doing so, I started humming a melody in my head. For fear of losing the whole thing, I quickly recorded the vocals and left it for a few hours, hoping that, when I came back, I'd be able to sort out which bits to keep and which to change. When I came back, however, I found myself liking the way it came out. So I took a chance and sent it to Fabrizio. It's a single take, all the way through.

Two Martin Stenmarck tracks are featured on From The Inside - are you a fan
of the album, or just felt something for those tracks?

When I first got the songs they were on a blank CD so I had no idea who wrote what. I just picked the ones that appealed to me.

There are two other interesting choices I'd like to hear your comments on.
Suddenly - already a hit for Leanne Rimes and Beautiful Goodbye - a
haunting cover of the Amanda Marshall track. How did you approach recording
these, as it seems to me that you have now made them your own.
Suddenly was already a rocker. That was an easy choice. In fact, I talked with one of Leanne Rime's guitar players who said that they had to stop playing that one live because they were rocking it a little too hard and it was upsetting all the grannies that had come to hear her sing "Blue". The Amanda Marshall track was the one that first convinced me to do this project in the first place. I knew there would be no improving it, but it is such a singer's song. I knew that I would be given the opportunity to give it my all. By the end I am just tearing my heart and my throat out and you can hear it. I recorded this at home and I often wonder that the neighbors didn't call the police!

Your song writing has always been unique and I'm a big fan. Starting way back with Tyketto. But the delivery of the tracks has varied over the years - melodic hard rock with Tyketto, to a more earthy stripped back feel with Vaughn and even raw acoustic with your solo tours and recordings.
Do you now have a preference - a favourite style to present your songs?
Not really. I like it all. Sometimes I hear myself doing some really hard stuff. Sometimes it's acoustic stuff. As long as I can present it honestly I'm open to any style.

You seem to be following a path that is heading back towards where you
started - and seemingly where fans want you to be. Is that an accurate assessment?
I guess it is. It's not a conscious plan, but, judging from the excitement that this release is already generating, I'm beginning to think that I should have listened to Frontiers a long time go.

The upcoming Tyketto tour is something that has a lot of excitement and
hype attached to it. Looking forward to it?!
Definitely. The closer it gets, the more nervous I am. We have a lot to live up to as we were a very strong live band and I'm really looking forward to playing for those fans that never got to see us live. Rehearsals begin in mid September and we're all pleasantly panicked.

Fill us in with just how that got started and organized?
Not much to tell. We had discussed it many times in the past and there were always personal issues getting in the way. Old wounds that hadn't healed. Plus, it would come down to doing it for money and, as tempting as that was initially, one of us would always come to our senses and decide against it. Money is the wrong reason. This time it was simple. "You wanna?" , "Yeah sure!"

Do you see this European tour leading into something else - you know there
are a lot of folks that would dearly love to see a new Tyketto album!
Hey! Don't get pushy! :-)
Just kidding. We are not putting that kind of pressure on ourselves. If things go well and we all love it, then it's something we'll talk about. But it may not happen. All the guys have other jobs, businesses, lives, etc. so there's no way to ever make it a full time concern again.

What else lies in your future Danny? It's been a quiet period between the
last Vaughn and the From The Inside release - what (if anything) do you see
happening next? What you personally really like to achieve?
The great thing is that more and more people seem to be becoming aware that I'm out there and I'm getting the chance to look at more and more projects, and getting more offers, like playing with The Sign in Belgium last week. I certainly would like to do another Vaughn record in 2005, but I'm also considering a lot of other options. What I would most love to achieve would be to be back to being a full time musician again. Paying the bills with music only. That would be success to me. I'd like to be as busy as Jeff Scott Soto. It's getting to the point where I'm convinced there must be 2 of him!

Shall we see another From The Inside release down the track sometime?
My feeling is that this is a one time thing. But you never know, I suppose.

You are one of a handful of individuals like Jeff Scott Soto that seem to
have an honest grasp on reality and are aware of the limitations of the
current melodic rock scene - and don't mind getting off your butt to tour,
play live and build on your name.
What do you think brings you to this position where others still behave or
long after the life as it was in 1990?
See? There's Jeff again! Will I never be free of him??? I'm kidding. Jeff will be co headlining a couple of the Tyketto shows with us and I couldn't be happier about it. I don't really know the answer to your question. I think people that have a decent sense of themselves and who they are, will have that regardless of what their status is in life. Most of the guys that I know in this business that are arrogant or live in another world, were like that before they were famous or made money! For me, the most important and grounding thing is that I am still a music fan. My wonderful girlfriend was kind enough to remind me and teach me that lesson. If you love the music, get down front, cheer, yell, sing along, bang your head. When did we all become this pent up, over the hill group of casual spectators?

Do you have any advice for other musicians out there - newcomers and
veterans alike?
When traveling in England avoid the Little Chefs! Even if they are the only thing open!

What are we likely to hear being played on the upcoming tour - and are
there any plans to capture any dates for either CD or DVD perhaps?
I won't tell you everything, but the game plan is to play "Don't Come Easy" in its entirety along with some other selections. No one has approached us about recording the shows, but it could be an interesting idea.

Anything you would care to add Danny?
Whew! There can't be anything left to cover, can there? I would like to say thanks for all the positive reviews and opinions on From The Inside that I have already received. It has given me a lot of hope for the future.

Thanks for talking to me mate - always appreciated!
Never a pain, always a pleasure Andrew! Thanks for keeping so many of us so well informed about what's going on in music all over the world. It makes me wonder how we ever got by without you before?

[Thanks Danny!….too kind…]

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2004

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