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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

xxxx
 

Helge Engelke and Olaf Senkbeil talk about the brand new Dreamtide album and the songs that make up the new opus.


Interview with Dreamtide guitarist and mastermind Helge Engelke.

I really like the style of the new album - you seem to be closer to a Fair Warning style sound. Was that a deliberate move?
Oops, right the very first one is a question I didn't expect at all. But first of all, thank you.
Having been in Fair Warning for more than 10 years I would have estimated that 80% of the songs on this record NEVER would have been on any FW record.
Maybe I am wrong but that would mean that the tastes of my ex-fellow members have changed drastically.
To answer the question more straight ahead: There was no intention at all, not even a single thought about it, to get closer to FW.

What did you have in mind when you started to write the new songs?
I'm a simple mind, so most of the time there is not much going on there. I wouldn't even say that I write songs. I would call it 'discovering' what - for reasons unknown to me - grew in silence and at a certain point of time wants to be unveiled. For me there is a clear separation between song and arrangement. The song is the melody and the chords. The rest is arrangement. When it comes to arranging songs the mind is
involved. Here the goal was to achieve something which could prove the
compatibility of melody and energy.

These are complex songs - there is a lot going on within each track - is
that your natural writing style?
I didn't think the songs to be too complex. But if you say so, it might be because I get bored easily and I like to add things to make it more colourful.

Is there a theme - a running story between the songs on Dreams For The
Daring?
None that I know of, but maybe there is.

It's quite a long record - did you record all the songs you wrote for the
album?
I wrote about 19 songs for the album and we picked 13.

I must be honest and say that I thought the production quality of the first album was better, even though I like the songs on the new album way better.
Sorry, but I can't follow here. The way the album sounds is intentional. The goal was to achieve maximum energy. I call it ' tsunami-sound'. The following is not meant as arrogantly as it may sound, but it would have been very, very, very, (did I mention very?) easy to let it sound like the first album.
It was simply not what I wanted. This album was not mixed to match (dated ) standards given by others. Dreams are free.
Somebody sent me the review of “Dreams for the Daring” on your website and I read about the complaining about the sound. The first thing which came to my mind was my grandmother, who (with a smile) kept telling me the story of how it was when the first railways were build in our area: All the farmers where concerned about the milk getting sour when the trains were passing by at such high speed.
Well, as we know now the milk didn't get spoiled, transportation just got quicker.

Fair comment Helge, thanks. Is it hard to complete these projects on the small budgets that bands have to work with or is it another issue?
No, nobody else but me is to blame.

You have included 3 re-mixes, with three tracks given a rather different - more modern - mix. What was the reasoning behind that idea?
These so called remixes are the original versions of the songs. When we played the first demos to our record companies, they had some objections to some of the sounds used on these versions. After some discussion we agreed to release both versions.

Were you happy with the results and who will you aim these tracks at?
Well, as I said, these versions were the original versions and therefore there are no reasons to be unhappy with them.
The second part of the question is not so easy to answer. I hope I got what you mean.
I don't think, play or write in categories like “melodic rock”, “Metal”, or “Slayyourmotherdeathtripledistortionmetal”.
The only category, which I think in, is music and songs. Whenever I find sounds or ideas for arrangements I like, I use them. These can be things from the past, from different cultures or things completely alien to the (so called) style of music people might think Dreamtide is supposed to play. This sometimes means consciously breaking the rules and limits of what is thought of as “melodic rock”.
If songs are written and arranged considering a narrow style or label of music, it necessarily means death of inspiration, creativity, and after all, death of music.

Can you tell us a little about each track on the album?
To describe music in writing does not come to me easily, but I'll give
my very best.

Dream Real
An effort to combine high energy with nice melodies. Lyrics are about turning dreams into reality and on whom to count on or not while doing this.

Live And Let Live
Up-tempo, guitar based, without neglecting the vocal ­ lines. Lyrics deal with some bad experiences I made with false friends.

I'll Be Moving On
Quiet beginning then getting more powerful. Hopefully a successful effort to blend a major-key song with power. Lyrics about the necessity of change.

All Of My Dreams
Starting out as a ballad, then getting more complex. Some more or less hidden musical quotes in there.

I'm Not With You
Complex arrangement, still heavy guitars. Lyrics address to people who try to sell you war as some kind of computer-game.

Man On A Mission
rhythm-orientated and heavy at the same time. Again some hidden quotes.
Quite German issue in the lyrics: The eternal quest for truth and the
possible danger of going astray on this quest.

Eden
Very heavy guitars, blending with Arabian influences. Lyrics deal with the situation in the Middle East.

Land Without Justice
Dealing with what I've been taught about right and wrong and finding out that neither government nor laws can guarantee justice.
Blend of some 'modern' and some 'old-fashioned' guitar-sounds, adding some keyboards here and there.

Out There
Going from an all-keyboard theme to heavy guitars.


Dreams Are Free
Based on a 70's funk- like riff 'translated' to heavy guitars, once the guitars kick in there's not much left of the funk-influence. Funnily, the lyrics are anticipating problems people who expect pure 'melodic rock' from Dreamtide might have with music or sound of 'Dreams for the Daring'.

Sweet Babylon
Again a song of necessary change in live and music. Leaving undesirable things unchanged can sometimes be more comfortable (sweet) than taking the necessary steps. Musically; I don't know.

You Can't Burn My Heart Out
Maybe a ballad. No, not really. Calm and heavy parts. Oh, come on listen.

What is next for Dreamtide - touring? Another album off in the distance
somewhere?
Hopefully touring will be next for Dreamtide. Finishing this album was somewhat strange because there were some songs left unfinished and unrecorded. But people said 'How many songs do you want to put on one album?' Basically that was the reason to stop writing and recording and for entering the mixing/finishing state. There is certainly more to come.

Are you working on anything else you can tell us about?
A simple'no'.

Is there any contact between you and Tommy now - a few years down the
track?
We never lost contact and we never had any trouble. Even the very day Tommy announced his leaving of FW we were on the telephone. It was clear that our tastes drifted apart, nothing personal.

Anything you would like to add Helge?
No matter what kind of rock you prefer. Dreamtide is meant to reflect a broad variety of rock. Have a listen yourselves and decide if you like it or not.

Thanks for taking the time out to answer these questions!
Thank you for giving us a forum.
Best Regards!

Interview with Dreamtide vocalist Olaf Senkbeil.

How are you enjoying your role in the band?
I am very happy that Helge gave me the chance to sing for a worldwide audience. Here in Germany I have only been a singer in a cover band and also for some studio work. That is o.k. for earning your survival money but it is not desirable for the rest of your life.
Because of that I sometimes lost my joy in making music and even in singing. The time of the Blind Guardian choir session on nightfall in middle earth and also when Helge rang me up because of the searching for a singer for his new band made me really happy. He is a very very talented and well educated guy...in music!! So for me it is a pleasure because I am able to learn a lot in producing and songwriting. Also I do hope that my English is going to become better because of Dreamtide and things like giving interviews.
Short version: I do enjoy my role a lot!!!

Your English is fine Olaf! Dreams For The daring is the second album for the band and you as singer - how do you think this album varies from the debut?
The album is a heavier one because when Helge wrote the stuff for the first album he didn't know what kind of band his new one would be - he was not knowing who would be the band members.
That has changed and now he knows how my voice is sounding and for instance the range where my voice is fitting the song material best. - (We hope that we know that ....*lol*)

Did you do anything different vocally on this album?
Not really. The recording sessions have been a bit faster because I also think that I do find my way back to Hard-Rock-Music more and more --- Lost my love in music because of covering too much --- and I think when Helge is writing a song I do know how he feels it and I try to give my best in expression and sound.

At what point do you record your vocals - and how is this process undertaken in the studio?
We did the recordings at Helge's studio near Hanover. He got some soundscape-units and we used the Brauner Valve. I got examples of the songs (Yes Helge should also be a well known singer *smile*) and I sang the verse and also the refrains in a row.
Helge was the controlling guy. It is always good if you have an interested listener (producer) and when we recorded some material we decided which one of the takes would be the one with the best expression.

How would you describe the sound of Dreamtide to someone that is not familiar with the band?
Hard powerful music with good melodies. Classical songwriting well produced sometimes with modern sounds.

Do you have any personal favourites from this new album?
Not a very special one because it changes everyday but "Live And Let Lie" is good catchy one, also I really do love the "Land of Justice" hard aggressive music and actual lyrics.

Tell us about other projects you have sung on over the years...
Well there have been a lot of various things. I started in the eighties with singing in some bands, blues and also German rock music, but the first thing I am really a bit proud of was the band Jacks Hammer (http://www.jacks-hammer.com). We did some nice rockin stuff and have had a lot of fun at that time.
After the death of my father I have had to earn money for my mother and my brother so I started to sing in a cove rband and I also started to sing some studio stuff. Therefore I sang on the "Jamaica-Soundsystem - Every Breath You Take", musical stuff (Stella musical), commercials. I even sang a Greek cover version of the song "Opa Opa".
Nothing what I haven't sung at that time even on the German "superstars" Daniel Kübelböck and Alexander *lol* I sang some choir passages --- good work and good professional team - greetings to Billy.
But I also did some serious stuff like the choir sessions for Blind-Guardian, Helloween, Grave Digger, Freedom Call, Lacrimosa and so on - therefore I do have to say: Thank you Mr Rolf Köhler for inviting me as a choir singer.
Another thing where I am a bit proud of is the CD Bittersweet from another band of mine.
The band named Morphshop (http://www.morphshop.com). That is no hard rock music but also one of my favourites. If you can manage it take a look on the homepage.

Do you have a list of other vocalists or bands that have been your influence and inspiration over the years?
Yes a lot of..... It started with Lennon/McCartney "Oh Darling", Ian Gillan especially the orchestral record 1973 Royal Albert Hall, Coverdale, Dio, Bob Catley, Gordon Summers, John Farnham, Joe Cocker.....and there is no end because there are a lot of good and inspired singing girls and boys throughout the whole world
So I would say the feeling and the inspirited singing of everyone could be an inspiration for myself.

I see you posted some replies on my Noticeboard a few weeks back - do you enjoy the online interaction with fans?
Yes it is so directly and those messages have been really a big fun for me because I talked to guys who really don't like my way of singing. But in the end we had a lot of fun and it was a good talk *lol*!!!

Does the Internet have its disadvantages?
For sure there are always more than only one side.
If you talk about some pornographic sites and also the "illegal" downloading of mp3-Files.
It is good for a band to be able to be known worldwide but you are not going to earn money. Therefore you have to work in different professions for paying your rent and so on.
Maybe this could also be a chance for more life-music and selling CDs without industry like record-companies. Than it will be maybe only necessary to have a good promoter. But as you see this is a theme for hours and hours to talk about and I don't want to bother you.

What CDs are you listening to right now?
Dreams for the Daring *lol* -- but yes I do really, Dead can Dance, Clannad, Stoppock, Zuccero, Helloween and Masterplan

Anything you would like to add Olaf?
Just let me say thank you for your interest in our band
Hope that we will be able to play some concerts in 2004
Best regards and thanks (hope you'll understand my broken English but that's it...)
 

Steve Newman talks about his latest Newman album and the Butterfly Tattoo material and gives some advice to new bands and AOR fans out there!

Hi Steve….our first ever interview – thanks for taking the time! What are you up to right now?
I am currently in the studio going through the Butterfly Tattoo material. I'm not sure who this is going to be released through, obviously Escape will have first choice on this. I'll let you know what happens.

Congrats on the new album - sounding as good, if not better, than ever.
Thank you Andrew.

There's been a 3 year delay between albums this time around, but you haven't been sitting around the whole time.
You recorded a set of songs under the title Butterfly Tattoo. What happened to those songs and why weren't they released?
Yes, that's right, I was involved in doing something a little different with regards to Butterfly Tattoo. I got together two other musicians, a bass player, and a drummer and we spent around 2 months in the studio writing songs with the intention that this was to become the next Newman album. We started to actively write together and could see almost immediately that this was going to be nothing like any other Newman album! After the songs were more or less completed I presented them to Khalil, and we both came to the conclusion that this was too different to be released under the Newman name. I am currently in the studio re-recording some of the parts from the sessions and hopefully this will be released in the very near future.

How far could the style really be from what you are best known for?
Everything I do will have an element of me in it, there was a lot more involvement from the other guys and this is really what took it in a different direction. It is very different from Newman, so I've been told by the few people that have heard some of the songs.

So you decided to start over with a new set of songs - a set that sets a new high standard for you! What did you have in mind after deciding to start over?
Well, I finished the Butterfly Tattoo material and then went through a re-location to another part of the South Coast of England. I spent around 6 months or so setting up my new studio, so when it came to sitting down and writing for the new album I had a few ideas buzzing around in my head.

Are you happy with the results?
Yes, I am, I was glad that I could spend the time in my own studio recording the guitar, keys, and vocal parts. I always felt that, particularly with the vocals, I needed more time to concentrate on getting them right. The previous albums have been pretty tough schedule wise. 3 days to sing 12 songs with backing vocals too, is a tall order!! So I think the vocal has benefited most.

Tracks like Last Known Survivors and Save Me Tonight are prime examples of British AOR. Who are your musical influences - now and as you grew up?
I started listening to my brother's record collection when I was growing up, bands like Led Zeppelin, and Free. Later I really got into the American bands such as Dokken, Ratt, and obviously Bon Jovi. I first saw Strangeways when they supported Europe in England, they became a very big influence, as did other bands such as Night Ranger and FM. I think that my approach to song writing changed when I heard Jeff Paris, and personally I don't think that anyone has come close to him as a songwriter.
My influences now are quite varied. I have been listening to the Foo Fighters, Good Charlotte, and Hundred Reasons recently. Although I still think that there are a lot of good melodic rock bands such as Urban Tale, Pride and Grand Illusion.

The sound of the new album is a little tougher - the guitar plays a more prominent and direct role in the music. Was that a conscious decision by yourself?
Not really, I think that in each album, the guitar seems to have been gradually becoming louder !! hahaha.
I always try to look at the guitar parts fairly carefully, and if it is required then it gets recorded. I would agree that over the course of the past 4 albums things have got heavier!!

You also use a new band line-up on this record, while playing many of the instruments yourself. I think this was a great idea and the benefits can be heard on the record. What was behind that decision?
I felt that after "One Step Closer" and "Dance In The Fire" I wanted to have a little more control over the Drums and Bass. On the previous two albums these had been recorded over in Canada and I particularly wanted to keep this in the UK this time around. To have Pete Jupp play drums on the album was a great thrill as FM was one of the bands I used to be really into. Both Pete, and Mike Brooks (Bass) put down some great rhythm tracks for the new album.

It was also produced by you with Pete Coleman. How did he influence the sound of the record and did you enjoy the more hands on experience?
It was great to meet up with Pete, and I think he done a great job engineering the material. I always love being in and around studios, in the passed few years I've tended to get quite involved in the technological side of the recording process, so it's always nice to see how someone like Pete works.

You've recorded 3 albums now for Escape Music - but I wasn't even aware you had a forth - a debut album for Point Music. Can you still get that anywhere, I need a copy?!!
hahaha, I think they're probably giving them away somewhere!! No, seriously, I think the album is still available from Point Music in Germany.

Are you happy with the musical development the Newman albums have made? Anything you would like to change or do differently?
Yes, when ever you have finished recording an album there are always things you wish you could have done better, but that is the learning curve. I think that every artist improves with each album. Sure, there are many things that, looking back, I wished I'd done differently, but then again these albums are really snapshots of a particular time in my life, the process I went through to record them, and the emotions I was feeling at the time.

With what happened to Butterfly Tattoo in mind - what next for Steve Newman? What will you do for the next studio album, presumably next year some time?
Well, as I've said, the Butterfly Tattoo material should be released sometime soon hopefully when it is all completed.
I travelled out to Sweden about a month ago to work with Anders Rydholm of Grand Illusion, that was a very productive visit, and hopefully the songs we wrote together should be appearing on an album at some stage.
I will start working the next Newman album towards the end of this year hopefully. I promise it won't be as long coming as the last one!!! hahaa

Any chance we might see Newman playing a few gigs this or next year?
Yes, I would really like to do some shows in 2004, we'll have to see.

Do you see any one band or artist really doing a great job out there promoting themselves, making great music that inspires you?
At the moment I think it is very difficult without the funding of a major company. I think that websites like yours, and the internet is the way to go with regards to promotion on a wide scale. This is certainly true in the UK at the moment as there is no real avenue, certainly for melodic rock bands, to tour or become successful in that way.

Can you tell us a little about the artwork for the new CD? What is it about? LOL...I personally think it's very cool, but I'd love to hear your thoughts.
Ok, I was looking at imagery for the new album, I already had the title in mind. I saw this image and thought that it fitted the lyrics in the title track really well. It's really someone stopping and saying "hey, everything is moving too fast, it's time to stop, and take a look around, and give something back" I think that as the world moves faster it is becoming less emotional, we see it in our music particularly, manufactured bands, similar to fast food really!!

Where does the subject matter for your songs come from?
Many different places, I tend to write what I feel at the time. If I am moved by a certain event, or story, then I usually write about it.

How do you go about writing songs in general? What's your modus operandi?
It really depends, it can start form a vocal melody idea, or maybe a guitar riff. I don't really have any set way of writing, although I use Cakewalk software to construct the song as an aid to developing the idea.

What would you really like to see happen to the melodic rock scene in the UK and in general worldwide?
It would be great to see it all came back to the scale that it was in the eighties. I think it will, but it will be packaged differently, probably in the form of a boy band!! haha.
There are already bands coming through, here in the UK, that have a certain AOR quality about them, only time will tell.
Even within the AOR fraternity I would like to see people start accepting some of the newer bands, I think the artists that were around in the eighties, playing this kind of music sometimes get treated a little too God like. I'm not saying any more!! haha

Anything you can recommend to new artists coming through and looking for a break?
I think if you are a melodic rock band, especially in the UK, then you could approach someone like Now and Then or Escape Music. The web is always a good place to start promoting the band as well. It's very difficult to tour and become known through that these days, and finding places to play is a nightmare. I would always say that with any band, make sure you all want the same thing, and get the best possible musicians. Just write what you feel, and try not to be like anyone else, people will always compare you to someone anyway, and you'll probably find that their influence has come out in your music.

Thanks for your time Steve, anything you would like to add?
Thanks Andrew, and thanks to all your readers and fans that have bought the previous albums. Good luck with the continuing success of melodicrock.com!

Thanks Steve, appreciate your time.

Paul Laine talks about his new band Shugaazer and his role and future in Danger Danger.

Shugaazer has been a while in the making - I know you have been working on songs for some time now. Just how long did the writing process take and then the recording?
The idea of forming this band started many years ago....I had always been writing songs for Shugaazer (the band that never was) and every time I had to do a D2 record, Steve and Bruno would choose some of that material, and that's what would end up on their album's.
This album in particular was about a year in the making-8 months writing it and about 4 months recording it.

How many songs were written and/or recorded for the project that has resulted in the 10 tracks included on the final album?
Probably somewhere around 30 songs were written to various stages before Chris and I decided on the 10 that made the record....When I set out to do this, there was no deal on the table...I thought to myself, I am going to make the record that I want to make, sing about what I want to sing about, and if the only people that are interested in this record are my friends...so be it. I never really expected for everybody to like it as much as they do.

At what point did you decide to go for a new band name over a Paul Laine solo album?
I never wanted to be a solo artist when I got signed to Elektra...I didn't even want to be the singer....I didn't feel that I was good enough back then. I thought I was better suited to the songwriter/guitar player role...It was the label's idea that I be the solo artist, and of course that meant I also had to be the singer.

Shugaazer is a tidy four piece - tell us about the other three guys - what they do, where they came from?
The writing core of this band is Chris Matheson and myself...I met Chris while I was working on a demo for his band in my studio...I thought, this guy is the first guy I have met around here that has the same kind of ear for music as I do...plus he is an incredible guitar player...very natural and fluid. He has great songwriting chops and never lets his ego get in the way when we write together...it's always about the song. Shane Demers came next on bass...he had played in various other acts locally and abroad and we all just really liked him...his playing and his personality...I think it is so important if you are a group to have a great relationship outside the band....it makes it that much better when you have to work together....Roland Churchill came last...We recorded the Album with Pat Steward, who drummed for Bryan Adams, the Odds, Jimmy Barnes, Matt Good ect...He had also worked with me before, as you know, on the "Stick It In Your Ear" album...He highly recommended Roland, and that was enough for me.

How do you describe the more modern approach of the band? Where does that musical inspiration/influence come from?
I have always just written the kind of songs that I would like to listen to...nothing more...If you think it's modern...great...if you think it's dated - I don't really care. Perhaps this isn't the best attitude to go though the business with, but songwriting is such a personal thing, and I have to like it before you do.
As far as influences go, the older you get, the more you have to draw on inspiration-wise...I love everything that is good. From Abba to Zappa, I'll listen to it all.

Danger Danger are a classic melodic hard rock band, yet Gildersleeves featured some modern production effects and a more updated sound. Was that your influence and is that continued on in Shugaazer?
I have nothing to do with how a D2 record turns out...that is all Steve and Bruno's decision...I don't write with them, I don't record with them...I send in my songs, they write theirs. They send me the tapes to sing on at my studio, I meet them in N.Y. when I have to go on tour...I don't think that I have influenced them at all, and I think that my contribution has been minimal.
When it comes to working on their material, I sing the songs exactly how they told me to sing them, and when it come to mine, they leave me alone.

To me, tracks like Beautiful and Enough and even Song 4 Lennon are related D2, but have taken another step forward. Do you consider the same?
Well...I know that they would never choose any song like that to be on one of their albums. It's hard for me to think of in the context of D2...outside people are a better judge of that. Since I don't write with and formulate a concept of any D2 album with Steve and Bruno, I don't think of any of my songs sounding particularly D2...in fact I have been chastised for writing different sounding material that perhaps hasn't fit into the D2 mould, and criticized for not sounding like Ted...I just think that I sound like me, and for the first time in a long time, I can stand on my own without being compared to somebody else.

How about most modern rock tracks like Stepped Into My Universe and Get The Hell Outta My House - where does the musical inspiration for those come from?
Again...when it comes to writing...there is no pre-conceived plan...I wrestled with putting Stepped Into My Universe on the record...everyone else just love the song so much that I had to...Chris wrote Get the Hell Outa My House, and I wanted that song on the record and he didn't...so figure that one out.

Are you happy with the results for the debut album? Is it as you envisioned?
The producer in me never is, with any record I make, but the songwriter in me is happy with it.

How would you describe the band's sound to those that haven't heard it?
Some people say we are a cross between U2/Coldplay meets Phantom Planet - but hey...who's naming names!!! ;)
I don't know really...I guess that's for everyone else to decide...I'm too close to it!

Any touring plans for the band?
We are definitely a live band...anybody willing to have us come play...we'll show up...We are going to be doing a lot of dates in Canada...most likely Europe as well...I suppose it depends if anybody likes it.

And I gather that this will be an ongoing band that will record future albums?
Yes...as long as the songs keep coming...and we don't kill each other.

Is there any room in the future for a Paul Laine solo album of any description?
At this point I don't know....If I feel constrained somehow and I feel the need to say something writing-wise that doesn't fit into the context of the group I'm in, then I suppose that I will...right now I feel tremendous freedom in my writing....As long as I have that, I am happy.

You have just got back from some European Danger Danger dates. Where does D2 feature in your future plans?
I'm focused on this project right now....D2 for all of us is just a hobby...I think if it wasn't...we'd all be working harder to make it more of a force than it is...besides, I am not the captain of the D2 ship and have no say in the decision making process.

It's been a three year break now since Gildersleeves and the band just released Rare Cuts, which sadly doesn't feature yourself. I hear word of a Best Of release and a live album. Why not just record a new studio album - or is it out of your hands?
Well...I am happy that Rare Cuts doesn't have me on it...I think it was a wise decision on their part, and goes to show what I think most people believe to be the true core of D2 anyways...I know my place in the band, and have never felt bad about it...I even think it would be great if they did a tour with Ted.
I know that the fans would probably appreciate it a lot....the thing is, when you're the replacement guy, you will always be that in the minds of most people who love the band...As far as a " Best of" goes...I don't know...and if there is a live record, at this point I don't see the point.

Will a new studio happen, or is it just too hard to get done?
I don't think so, but you would have to pose that question to Steve & Bruno.

Is it nice to still get requests for the Stick It In Your Ear album?
It is, and I am still flattered at all the nice things people have to say about it...You know...I wrote most of that album when I was 17 years old....I didn't even own a copy of it until about 6 months ago....I never listen to work that I have done unless there is a tour to go on....which is why I always have cheat sheets on stage!!!
Pretty pathetic that can't even remember the lyrics to my own songs!

I hear that you are considering re-releasing the album?
I am seriously considering releasing it again...especially after this last tour, where I had a lot of record store owners coming out asking me if I would....apparently it is quite hard to get, and there seems to be enough people who want it...so...

And will it include the 4 bonus tracks and/or anything else different?
Yes and probably something new as well....

Paul, you have a lot of songs that remain unreleased - could there be any plans to release these at any stage?
I won't release anything in demo form ever again...They will only be released as I intended for people to hear, which of course would be in a new studio album....I really think that you only do that when you run out of options creatively, or you just want to milk your career to the last drop.

What's next at this stage then for Paul Laine?
Devoting all my energies to the Shugaazer album....Right now I am trying to get distribution in my own country, and will begin playing as soon as that happens.

What albums are you listening to right now?
A lot of old stuff...Fleetwood Mac "Rumours" ,ELO's Greatest Hits, Bowie, the Cars, Blondie and Liz Phair's great new album...Also...I discovered this great band from the UK....they're called Feeder...Love that band...very much along the lines of what I am doing, so I guess it's justification in some weird way.

Anything you would like to add?
I would just like to say thank-you to everyone who has ever bought a recording of mine...With the internet piracy going on, it is a lot tougher for smaller artists like myself to forge out a career and make a living from it...music is art...and artists need to be paid in order to sustain at what they do...we think nothing at downloading music for free off the internet, but if we went in to an artist's studio, painter, potter, novelist, whatever and just took from him what he had spent so long to create....I think it would be a different matter..
It is because this kind of theft is an anonymous theft....responsibility and respect for people and their work is always important, no matter what their job is...I am not saying don't listen to music online...I am just saying respect the effort that went into it, and if you truly love what you hear, BUY the album, so the artist has a chance to make more of his art available to you.

Cheers Paul for taking the time out to do this interview - much appreciated.