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Jim Peterik and new vocalist Toby Hitchcock talk about the debut Pride Of Lions album and what fans of classic AOR and Survivor can look forward to on the debut album.

Andrew:          Hello, Jim!

Jim:                  Good morning.  Top of the morning to ya!

 

Andrew:          Top of the morning... bloody hell <laughing>

Jim:                  Toby, say hello to Andrew McNeice

Toby:               How ya doin', mate?

 

Andrew:          Toby.  How are you doing, mate?

Toby:               I'm great.  Crickey! [Nice use of Aussie lingo…]

 

Andrew:          Very good <laughs>

Jim:                  He asked me, "Do you really think I could do that with Andrew?", and I said, "Andrew is crazy; you've got to do it".

 

Andrew:          You gotta do it.  Absolutely.  I'll do my really bad Southern accent now.

Jim:                  There he goes.  I was telling Toby that you're my evil twin or evil son, I don't know which.

 

Andrew:          Absolutely, evil twin I think I like.

Jim:                  We had a ball in England at The Gods festival about two and a half years ago.

 

Andrew:          That was fun wasn't it?

Jim:                  We had a few pints here and there. Went to Liverpool together and saw The Cavern, you know.  It was great.

 

Andrew:          That was a good trip, wasn't it?

Jim:                  A great trip.

 

Andrew:          Sitting next to Gary Moon on the way back.

Jim:                  What about Gary?!!

 

Andrew:          That was just... take you life in your own hands don’t you?

Jim:                  Oh, God yeah. 

 

Andrew:          You must be pretty excited?

Jim:                  We are.  We are.  We just spent... upstairs we were just doing background vocals.  We're closing in on this thing.  Of course, you know, we're trying to deliver it as close to the contract... the contract says June 30.

 

 

Andrew:          Oh, really?  Okay.

Jim:                  Yeah, we might not quite make that but October 20 is definitely the release date.

 

Andrew:          Yeah, great.

Jim:                  I don't know if you know the story, we went to visit a mastering studio yesterday.  So, yeah.  We're very excited.  Toby... well, I'll let him speak for himself. 

 

Andrew:          You look fairly young, Toby, how old are you?

Toby:               I'm twenty-five years old.

 

Andrew:          Is that right?

Toby:               Yep.  But not too young.

 

Andrew:          Yeah <laughs>.  So how did you get into melodic rock or why is your heart and vibe there?

Toby:               It's kind of a funny story.  I actually met... I've been singing all of my life and I met Jim's niece and she sang... we sang in a band together, just a gigging band, just going around to parties and things like that, and people would hire us.  And she told me that her uncle was Jim Peterik of Survivor and Ides of March.  And I was pretty much like "No kidding?".

 

Andrew:          Yeah, like your average uncle isn't really that famous.

Toby:               Right, not your average uncle.

 

Andrew:          Or that handsome [Jim doesn’t hear this, so the compliment goes uncollected]

Toby:               So he brought me in one day to the studio, and I was all excited.  I remember when I first met Jim, I put in these fake buck teeth... all nasty fake teeth.  They call them Bubba Teeth here.

 

Andrew:          Right.

Toby:               I'm kind of a jokester and I was hoping that Jim would think that I really looked like that but I started laughing and I had to take them out.  But anyway, he heard me sing and I guess he really loved my voice and approached me with the idea of doing this album and, of course, I was all for it.  It was a great opportunity to be able to work with somebody like him.

 

Jim:                  It's interesting though that I think maybe what your question was alluding to also was that Toby really wasn't singing melodic '80s rock prior to this.

 

Andrew:          I wondered what other sort of material you have been singing...

Jim:                  And maybe you could talk a little about your influences and your experiences with the '80s genre prior to this, Toby.

 

Toby:               Well, one of the... of course, I was born in '77 and my Dad, he's a minister, a preacher, and so I wasn't really able to listen to a lot of the stuff; it's wasn't like a normal part of everyday life, but there were some songs that my Dad loved, and one of those songs was "Roseanna" by Toto.  He loved Toto and just, I don't know... REO Speedwagon, and all the big '80s bands, big rocker bands.

 

Jim:                  Foreigner.

Toby:               Yeah, Foreigner was a big one.  All those songs... and I still love all those songs.  I have CD's specifically created for listening purposes of those songs, I just love it to death... the big ballads like that.  As far as my influences go, I would have to say...well, I've got so many, it's hard to define one person... I love... I think what helps a lot in big power notes and stuff like that... I love Brian McNight and Mariah Carey...

 

Andrew:          Really?

Jim:                  He looks a little like Mariah

Toby:               Yeah.

 

Andrew:          <laughs>

Toby:               I only wish.  I'd never leave the house.

Jim:                  You'd never leave your... you couldn't keep your hands off yourself.

 

Andrew:          <laughs>

Toby:               When I was growing up, those were some of my favorite artists, and I tried to mimic them.  Boys to Men was another one.  A lot more R&B groups.

 

Andrew:          Wow.

Toby:               My Dad, however, as I got older I realized I had a bigger voice and was able to do things with my voice that wasn't normal for a white boy from Indiana.

 

Andrew:          Yes.

Toby:               I don't know, I just started singing and singing and singing and sang in the shower and the car and everywhere I was and, I don't know, I kinda got good at it, I guess.

 

Andrew:          Yeah, wonderful.

Jim:                  The first time I heard him, I knew that this was really special and personally, I've been blessed to sing, to actually work with some of the greatest singers in rock, mainly, Dave Bickler, Jimi Jamison, and of course, Don Barnes and Sammy Hagar.

 

 

 

Andrew:          Yeah.

Jim:                  So I've worked with some great guys and with World Stage I got to work with many, many great singers but this is my chance to really go back to my '80s influences, my '80s roots and I really was looking for the right singer.  There's a lot of singers, but not a lot with the range and the tone that you're really looking for, and I heard Toby and I'm going, "Hmm".

 

Andrew:          Yeah, yeah.

Jim:                  Very interesting.  The first time I heard him it was like the tip of the iceberg.  I had no idea the range, I mean, he's hitting like E's and even F's above High C.

 

Andrew:          Really?

Jim:                  Full voice.  The high note of "Eye of the Tiger" for instance is the High C, he goes above that a fifth, okay?

 

Andrew:          Right.

Jim:                  That's pretty scary.  And what's great about it is that as a songwriter... I've always considered myself... that's my passion; I love to perform but I think songwriting is my real, real passion.

 

Andrew:          Yeah.

Jim:                  As a songwriter, if you have a singer that can sing any note, then you have free reign with your range and the melodies.  When I was working with Jimi Jamison as a member of Survivor, I remember when Frankie and I wrote "The Search is Over" I knew that Jimi could sing that song.  If we had a lesser singer, then I knew that I would've had to change that melody.

 

Andrew:          Right.

Jim:                  And it wouldn't have been the song it was, so the gloves are off.  Since I started working with Toby, my writing has actually improved, I feel.

 

Andrew:          Wow.

Jim:                  Because I know this guy can take it and just rip into it and do it.

 

Andrew:          That's a scary prospect.

Jim:                  Yeah.  It's been a lot of fun for me and everyday that we work on this album... we've been working on it now off and on for about 6 months, has been nothing but really fun.  I don't know if you feel the same way, Toby?

Toby:               Absolutely.  I've never been able to... the thing for me is, a lot of singers go and they try to get into record companies and they try to get in with somebody who is an accomplished writer or arranger or producer or whatever.  They try to get in and they just keep on getting turned down, turned down, turned down.  Well my first shot, you know, which wasn't really, I wasn't really thinking about doing an album... I mean I always wanted to do my own album, but I always thought it was going to be a small thing, you know what I'm saying.  But it's really cool because my first shot, I got offered an album without even asking.  I didn't have to go, "I really want to do an album", you know.  I mean, it was just like, "Hey, do you want to do an album with me?" and I'm like, "Holy crap!" you know.

 

Andrew:          <laughs>

Toby:               I can't believe this guy is asking me, you know, somebody like Jim who... now I'll be honest, I didn't know the name Jim Peterik, but I knew the songs.  That's how people know Jim is through songs.

And I don't know, I've been really blessed to meet him and his entire family.  They're so... I didn't know there were people like this left in the world that are so giving and honest and sincere, and that's how I was raised so I think Jim and I have a lot of chemistry when it comes to just our personalities.

 

Andrew:          Yeah.

Jim:                  We can talk about things that are bothering each other or that we're happy about or upset about and trust that we're going to shoot straight without getting offended, and whatever.  He can say anything to me and I know he's not going to disrespect me in what he’s saying, he's saying it to help or encourage, that's what makes working with Jim so great.

 

Andrew:          I've got to say that Jim is one of my highlights.  If everyone was as accommodating and as caring as Jim, my job would be a lot easier.

Toby:               Right.

Jim:                  Well, thanks.  I think the thing I love about Pride of Lions is... it's the young cub, Toby, coming up and learning the ropes... I mean, the first time he ever sang in front of a microphone was in my studio, I mean professionally, and first of all he's improved... I knew he was great in the beginning, but the more he sang the stronger he got and then you've got me, you know, 52 years old, I've been in this business since I was 15.  That's why we call it Pride of Lions, it's because in the jungle there's this whole order of family, the father lion and the cub and it's just everybody has their own role.  I could never sing the notes that Toby sings, but luckily I have the experience to guide it all and hopefully that's a great combination.

Toby:               I can't sing the notes that I sing.

 

Andrew:          <laughs>

Toby:               I honestly... I'm surprised when I hear myself back, I'm surprised that I can hit those notes, I'll be honest with you.

 

Andrew:          I cannot believe the "Sound of Home".

Jim:                  Oh, "Sound of Home", you like that?

 

Andrew:          Oh, my God.  I just keep playing it and playing it and playing it.

Toby:               Keep on playing it, man!

Jim:                  The time is right.  The sound of the '80s, and of course, we've updated it...

 

Andrew:          It sounded fantastic.  It really did sound like classic sort of except with a new edge.

Jim:                  It's not like it's a cliché like, "Oh my God", it actually sounds pretty fresh to me.

Toby:               Well they have the equipment they didn't have back in the '80s... a lot of effects and cool things you can do nowadays, you couldn't do back then and I think that's what kind of updates it.

 

Andrew:          Yeah.

Toby:               But the sound, the feeling of the '80s is still there, which I love.

 

Andrew:          Exactly.

Toby:               That's when music was so emotional. 

Jim:                  What I go for, and I don't have to tell you, is music that really touches your heart in one way or another.  Either it uplifts you... we have a song on there called "Unbreakable" it's really an ode to the human spirit, you know.  I am unbreakable; no matter what hits me; I will survive.  That's been a message in my songs for a long time.  But there's also songs about... bittersweet songs about potential breakups like "Love Is On The Rocks" where two people are struggling to find that thing they had in the beginning.  There's another song called "First Time Around the Sun" which is about making everyday a fresh start.  I just think a lot of people need to hear that, you know?

 

Andrew:          Yeah.

Jim:                  But every song has meaning.  Toby... oh, by the way, I want to tell him about that song we wrote, Toby.

Toby:               Yeah.

Jim:                  Toby just started to sit down at the piano one day at the studio and started to play this incredible piano riff.  I said, "What's that?" and he said, "I wrote it."  I said, "Really!  When?" and he said, "Oh, man, I've had this thing around for a while."  And I said, "Play that again," and I let the tape recorder roll and I started to sing this scant melody and before you know it we had a song called "Stand By You".  It's really powerful.  By the way, Toby, I don't know if you know it but we put the strings on it today.  Oh, you were there at the end, right?

Toby:               Yeah.

 

Andrew:          Strings... fantastic.

Jim:                  It's incredible.

Toby:               That's a wedding song

 

Andrew:          You know how much I love Mecca, and I think this is going to be even better.

Jim:                  Well, I don't want to say, because I love Mecca, but of course, I feel very strongly about this project.

 

Andrew:          That's great.  I just wanted to touch base and I'm really glad Toby was there.  Toby, I really want to get this on-line and let people get to know you.

                        Thanks Jim and Toby for the chat. Jim, I’ve got a couple of things to run past you, so I’m going to hit the stop button now….

 

STOP :)

 

 

Gregg Fulkerson talks to me about Attraction 65, his passion for music, life after Blue Tears and the long road inbetween. I think you will agree that Gregg's one of the nice guys of rock n roll. Read on...

So Gregg, most folks will know you (and Mike) from Blue Tears. Starting at that point, how did you enjoy the ride that was Blue Tears?
We enjoyed it immensely, that was a long ride as well. Starting when I was in high school and to tell you the truth, we've just gotten back on with ATTRACTION 65 for all practical purposes, we are literally picking up where we left off even down to using the last song I wrote during that era, "Strong", on the new album but I'll get to all that somewhere in this interview I'm sure.

Let's go straight to the new record - the debut Attraction 65 album. When did you start work on this album?
About a year ago as far as the recording as far as the writing of the new songs which is the majority of the record it was written over the last couple of years

And where does the band name come from?
Ah that's a big secret you know. Ok…actually it's from a sign on the interstate.
Attraction 65 is the Franklin, Tennessee exit on the interstate. There are different "attractions" around our state and they are numbered so it' could have been attraction anything, but that is actually the one that we take nearly every day and what a great "attraction" it is…the coolest city around here, that's for sure.

The album has a far more contemporary sound than Blue Tears did – at least you haven't stepped backwards. Are you aiming at the same audience, a new fan base, or neither - just pleasing yourself? Was there ever a thought to make a new Blue Tears record?
The only thing that is different about the Blue Tears record and this one is the name and the drummer. The songs come from the same place, same singer, same core band.
I quite honestly just didn't want people to hear Blue Tears and think oh, that "80's" band (even though we came out in '90).
Actually, Blue Tears was about as "contemporary" as you could get when it came out, but is obviously very dated now. This could have been called Blue Tears and been the official "follow-up" record.
Believe me, I was torn but in the end we decided that with the new guys on board we would become a new band…sort of rising from the ashes of what once was Blue Tears (that sounded dramatic, didn't it?).
Much, much better than we were before in my opinion it's not even in the same league as far as a "fanbase".
I'll tell you who I think this record might be aimed at. This record has a thread of hope that you can hear in each song even in "Rise Above", "Believe", "Stand".
I went through some very dark years and I know there are people out there that are lost, broken-hearted, that need something to believe in…hopefully this music can bring someone hope or drive someone on.
There were records that did that for me throughout my life and I am by no means comparing our record to these people because these are my hero's.
And I don't pretend to be in the same league as them but for example, The Joshua Tree, The River (Springsteen) and the Mellencamp records…Bon Jovi records...these people gave us something to think about - a way out - a way to look at certain things and I pray that we can do that for people as well.
I know we'll never be able to live up to those guys…any of them...but why not try???

I think you have done a fine job Gregg. There's a lot of positive messages in these songs.
You have just spoke of them, but I wanted to ask about the varied style of delivery within the album. I heard Bon Jovi, Bruce Springsteen, U2 and even Nickelback within the record. Are you a fan of those artists, or any others that inspired the sound of the album?
Yeah I'm a huge fan of Bruce, Bono and U2 Bon Jovi. I love Creed...great lyrics and every musician in that band is just unbelievable. It kills me when I read someone who is just too cool for Creed.
I don't get that…maybe they sell too many records? Especially all of you melodic rock fans, this is where your Bon Jovi/Aerosmith/U2 of today is – Creed, Fuel...ok, so I know Carl from Fuel pretty well but I'm still a huge fan of the band!! These guys write songs they don't just jam they write serious songs.

What inspired the use of a choir on Stand? Wonderful effect?
I think just the overall gospel feel of the song. My part came way before the choir parts. Strong has it as well and Prisoner at this point, not sure where Prisoner is going to fall on the record I think it's going to be a mystery track or a hidden track? Not sure have to ask Magnus about that.

Jumping in on that point - how did you come to work with Magnus and Atenzia and why did you pick them above any other candidates?
To tell you the truth...because of the way this thing came together, there weren't any other candidates. Magnus and I had been talking for several years...literally.....he had been interested in another Blue Tears record for a long time, but I did not want to come back out as Blue Tears....wasn't even interested in recording at first...this was
several years ago that this started.
Finally...a couple of years ago, he had the Atenzia thing come together...he told me he would like to sign me to do a modern record...to do what I am doing now...not a
throwback to the 80's. I'm not interested in that stuff at all...so we signed a deal...and Magnus and I have become good friends....so really....Magnus was a big factor in my coming back to the music business. His faith in me was very inspiring...I will always be
indebted to him for that...so guys...if you ever get a call from Magnus...or find out Magnus is interested in your music...go for it...he's a pleasure to work with.

Awesome…back to the album - I think tracks like Eden, In Another Life and Train, even Swept Away and Roll On could all hold their own on classic or modern rock radio - is there any chance of this happening at all?
Well, I can only hope and pray that this could happen! I feel pretty confident about the songs on this record. In Another Life or Train can pretty much hold their own with any of these guys I think.

Any US release plans at this stage?
We are talking to various managers already. We have our booking agent lined up and everything has been centralized out of Europe at this point, only because or the chain of events leading up to this. We haven't pursued anything in the States at all yet as crazy as that sounds but it's coming.

Can you tell us more about the guys you chose to involve in Attraction 65?
Absolutely....the band is....myself...on lead vocals and guitars, some keyboards....Michael Spears on bass (from Blue Tears)....Paul Zegelien on guitar....Ludo Baccherini on drums....and Robert Streets on acoustic guitars and backup vocals.
I'll tell you a little about each guy....pretty interesting I think. When I decided to do
this again....I wanted to have a band...not a touring band...or a put together band...but a band of brothers...if you will.
My favorite groups were the real bands...like Bruce and the E Street Band...U2......Bon Jovi...you know every guy in the band...each one is important in their way and it would pretty drastically change the group if even one guy changed.

I think I have the best band I could have....all best friends...we all go back several years...some back to child hood even....for example...Michael Spears. Mike and I met at camp when we were kids...literally used to play acoustic guitars together at camp...Mike
and I started what would later become Blue Tears when he was a freshman
in college and I was a senior in high school. So we have all those years wrapped up in our music. When I first decided I wanted to make a new record...and hit this hard...I called Michael first.....when he decided to come back…I knew we would have a killer band no matter what. Mike is an artist himself...a brilliant writer...singer...and
producer...on top of his bass playing. Mike has recently produced tracks for Billy Falcon...and also for Billy's daughter Rose Falcon...I have to be honest here...eventually Mike is going to be a big star all on his own...it's inevitable...he already has people
looking at him for that...labels....and a lot of his material he and Billy Falcon wrote together.
I support Mike in whatever he does...he will always be like a brother to me regardless of what happens...I pray that he stays with us forever...but someday it will become
impossible...until that day we'll have the most fun we can and make the best music we can. If we can work it out for him to stay on...then hallelujah...if not.....then I'm happy for him...no jealousy here...I want him to succeed...and he will.

Ludo Baccherini plays drums....is a lead singer in his own rite as well. He plays exactly what I hear in my head...when I think or hear drums...I'm hearing him in my head....he's just great....finds that back beat...plays just behind the beat...which gives everything a really big sound....also like a brother to me....I'll stop saying that..because
all four of these guys are that to me.....family.
Ludo was really the next guy on board for the band....after Mike....it's hard to say
which came first in this group because Mike and I had been talking about
it for so long...but Ludo is a huge part of the sound of the band...on this record.......he played things that most people would use loops for...like on Roll On....or Believe.....no loops...just Ludo....I can see him going down in history like a Max Weinberg or Tico
Torres....Kenny Aronoff....he feels it...doesn't just play it. Not sure how to get that point across...but a lot of this stuff on the record Ludo recorded to an acoustic guitar...that's it....then the band would fill in around him.....so his feel became the overall feel of the song...big, big part of our sound.

Paul Zegelien plays electric guitar....on the record he played a lot of rhythyms...but live he'll probably handle some of the lead parts as well....Paul and I got together because of our similar love for music. We like a lot of the same bands...used to have these long
conversations about songs…bands...guitars...etc...long before he joined
up with the band. Paul is also a great singer...he actually taught high school chorus at one point...a music teacher...very cool.......he's just an all around great person who puts on no airs...just what you see is what you get...very genuine. Also one of my very best friends in the world...we will sound huge out on the road with me and Paul on electric
guitars...Robert on the acoustic guitar....5 strong vocals (no fake sampled vocals for us, I hate that )....Paul is also my fishing buddy....so that goes a long way…ha ha.

Last but not least we have Robert Streets....Robert was a front man for his own band for years...an incredible singer....his voice is the perfect compliment for mine...he is doing the majority of the solo type background vocals on our record...the Bruce/Little Steven or Jon/Ritchie type vocal stuff.
He was probably in the studio with me more than anyone else making this record...so much so that I gave him an "assistant producer" credit....he'd come in after I'd been working on vocals or guitar parts for hours...I'd be totally burnt out...and he'd
basically be my listening board...tell me....that's great Gregg...you sound killer...or...that's pretty rough Gregg...you can do better than that....brutally honest....and I needed that....had a lot of great ideas about arrangements as well...thus his credit.
Robert and I go back about 13 years at this point....we've always done music
together...written together...etc....mostly for fun.
He came in to do backup vocals on a few songs on this record in the beginning... I had
about half of the record done at that point....and he kept coming back.....finally...he and I talked one night...I said…man, it would be a dream come true for me if you would join this band...stand right up there every night on stage with me and blast out these harmonies...play all these acoustic guitar parts from the record......we would be
unstoppable!! He agreed.....it was a big decision for him to join someone else's band..always had his own groups.....but the way I see it...it's OUR band....all five of us.....

That's probably more information than you really wanted about the band...but that's how we got together...I'm obviously very excited to have this group now....I'll be on the road with my 4 best friends...having the time of our lives....doing what we love to do
most...playing in a rock and roll band.

Let's go back a little…Blue Tears came out in 1990 - how did you find working/playing in the prime era of stadium rock?
To tell you the truth, I think when Blue Tears was actually released on MCA that era was ending we came out right before Nirvana hit.
I enjoyed the years leading up to it more than the time after it was released. A very "innocent" time.
Some of my favorite musical moments came from playing in a band called Stealin' Horses on Arista, that was right before Blue Tears was signed - we did a tour opening for the Smithereens and the Stray Cats - what a blast. Great musicians, great songwriting. Loved that band.
Blue Tears was a group whose nucleus - myself, Michael Spears and Bryan Hall had been together since I was in High School. We used to practice nearly every night, played covers mostly until after college when we started writing original material.
But the feeling was always the same. Attraction 65 is really chapter 2 of Blue Tears - just a different name. My writing has matured a lot since then those were more "innocent" times for sure.

I was watching the video for Rocking With The Radio - that's a great fun clip. What do you put the fans enduring passion for Blue Tears down to?
Well, assuming there really are fans out there with an enduring passion for the music we made then - I think it was the innocence, the honesty.
We really were from this small town, music really was our one way out and we were going for it. We had nothing to lose and the whole world laid out before us. No one wrote songs for us, we wrote them ourselves…and they were very real.
The song you mentioned Rockin' with the Radio, I actually wrote that driving around my hometown, just checking out all the old haunts and then I had an hour or so drive to Memphis where we cut the song the same day (the demo).
I don't think that was a great song by any means, but the ideas in it were very real and hopefully that comes across.

How did the ride end? Why wasn't there ever a second album?
That is a very good question and one I really don't enjoy talking about, but I'll go ahead and get this out of the way so we can get on to brighter things.
Let me just say that MCA didn't just decide to drop us one day, it wasn't like that. Blue Tears never officially went in the studio to cut the second record.
A lot of songs were written for it, some very, very good material…some of which is on the new ATTRACTION 65 record. We were all set.
BUT, I was not watching my back...and I got taken pretty badly. I'm not going into who, what where none of that and I never will.
I LEGALLY could not do anything I could not make a record. That's all I'm really going to say about it. My hands were tied.
By the time the smoke cleared I had lost every dime I had. I had lost my house, my wife, my band - everything. Had nothing. I was so burnt by what had happened to us that I took about 4-5 years and just tried to forget it had happened at all.
A lot of people that knew me during this period didn't even know I played guitar, much less knew about the band. But I came out of all that much stronger than before. Fresh with a serious story to tell.
I have lived through a lot of things that most people don't have to go through in their lives, thank God.
So when I say: "You say your life is goin' nowhere and you feel like givin' in? Take it from someone who's been there feeling lonely ain't no sin…you sit and wonder why everything passes you by maybe it's time to roll on "
Man, I know what I'm talking about .

Wow, I had no idea Gregg. Do you still see the other 2 guys? What are they doing these days?
No, actually, I don't. I'll be seeing Bryan for the first time in about 5 years tomorrow night; his daughter has a band Vista. I'm sure they are killer. Will probably be huge!
If they have any of Bryan's talent they will be...anyway. I'm excited about that.
I haven't seen Charlie in many, many years. I liked Charlie a lot, but was never close to him like I was Bryan and Michael. Just didn't click the same.
These guys were like my brothers - Mike is in Attraction 65, of course I know Bryan does a lot of music. Just an incredible all around musician singer/songwriter...a huge talent.
I wish him the best. I have no idea what Charlie is up to, but I'm sure he plays a lot of drums and I wish him the best as well.

As you know, there is a big cult following of Blue Tears and some unreleased tunes are traded like gold!
Most of the time they are passed of as the second unreleased Blue Tears album. But can you tell us the truth behind these tracks and where they came from?
That's an easy one - the only "official" Blue Tears releases were on the Blue Tears album. Everything else you may have heard or can download off the net are just 8 track demo's - some done before the record some after.
I'm going to make a lot of that available on melodicrock.com! Just to stop these guys who are actually selling it!
I don't like the way a lot of it sounds, doesn't sound like me. A lot of it was very experimental for me…some came out great like "Storm In My Heart", "Call My Name" or "Strong". Those were gems that were never recorded for a record so I pulled them out for the ATTRACTION 65 album and they kick.
There are some like "Loud Guitars, Fast Cars and Wild, Wild Women". Mike and I wrote that in about 10 minutes as a joke. Then realized it was kind of good in a corny sort of way. Our management gave it to Contraband for their record and it ended up doing very well for us. I normally would never even claim it don't like it at all but it was fun doing the Motley Crue thing.
I love Motley Crue...really love that band. Always have, but there is only one Motley Crue and we sure weren't it! ha ha!

Is there any chance you might package any of the unreleased tracks for a official or indie CD release? Some of the songs being traded are horrible quality!
NO but there is a very big chance that I will give you a big library of these songs and you can do with them what you will as long as it's free!
I wouldn't charge anyone for my demo's!!! How desperate is that? Nah if you want to hear them it's an honor for me to put them on the site.
I can't hardly listen to a lot of it because my voice has changed a lot over the years.
I actually learned how to sing! But let's just say here and now that I'll pass on a lot of that music to you Andrew and you can put what you want on the site how's that?

Couldn't ask for more Gregg, I'm sure a lot of folk will be pretty excited about that!
Three tracks you have spoken of made it to the new Attraction 65 album. Can you tell us why those tracks stood out in your mind to come to life in 2003?
We included "Storm In My Heart", "Strong" and "Call My Name" on the new record because quite simply, they were 3 of my best songs ever and no one had heard them other than on those bad demos that were being passed around.
I have always felt that those were my 3 best songs of all time to be honest with you and they weren't on the Blue Tears record. I had “Call My Name” for that record, but the producer didn't want to use it.
If I could play one song on an acoustic guitar to anyone and only had a chance to play that one song to show them what I do - it would be one of those 3 hmmm…then again maybe “Eden”…hard to say…let's say it would be one of those 4.

Would you mind making a comment on each song on the album for me?
Believe
Ahhh…the big rocker to blow your face off. Have to have a kicker right at the beginning. For those of you losing your religion, losing your grip… believe and no, it's not a contemporary Christian song...ha ha

Roll On
Very serious song. Let's just say it deals with addiction. That's my take on it anyway...could be a lot of things. We all see them - people side tracked in life, afraid to move forward, just pulled over on the road of life…medicating themselves senseless just to get through the day. This song is just a song of encouragement. Everyone reaches a crossroads and everyone's got choose.

In Another Life
Very, very cool song…kind of an alternate universe idea. Have you ever met someone and felt this huge connection to them - almost like you know them, or were meant to know them. And you have that moment when your eyes meet and the two of you just kind of know it, your life sort of flashes before your eyes. You smile and say "yeah, right…in another life”. And then head for soccer practice…

Train
This is a big one…this is major. A "companion" song to Roll On. How many of us are sitting there waiting for that train to come rolling around the bend to take us where? Love, Happiness…it's all coming right? It's going to come to me one of these days just waiting and then one day 20 years later, you realize you've been waiting your whole life and that dream has passed you by. It's too late. Don't waste your life away, waiting on that train.

Stand
Stand is one that changed drastically during the making of the record....was a full on rocker from the start at one point....just didn't have the same soul it has now....it has such a strong message of hope and encouragement...and it just wasn't coming across that way by banging everyone over the head with it.
After I cut out all the drums and loud guitars on the beginning...it let the song breathe...Ii re-sang the whole thing in a couple of takes...and was really pleased with it.

Call My Name
This is the closest I ever came to religion in my music. whose perspective is this song written from? You tell me...sometimes it's "him" sometimes it's me…sometimes it's a man/woman thing. Depends on the mood I'm in.

Eden
This is probably my favorite of the new songs…very, very difficult to write a song about perfection…heaven. A woman that puts you in heaven…in Eden?

Strong
Just the truest love song I ever wrote…meant every word.

Rise Above
Rise above the pain and the sorrow…rise above those fools that you follow. A song of empowerment!

Storm In My Heart
This song was written at the saddest time of my life about the saddest event possible. A song about dealing with a great loss.

Swept Away
Swept Away is that guy in Roll On who doesn't get his act together. It's that guy lying awake at night thinking he may not make it until the morning.

You also made a record with Michael Sweet of Stryper. That remains his best album, with strong fan support. How was that experience?
That was a wonderful experience - Michael is a great guy.
I had so much fun working on that record and that's saying a lot, because it came during that period where my career was basically being held prisoner and I was going through a very painful divorce, but still had a blast.
Michael is a great guy, super talented singer, writer and my God what a guitar player!
I learned a lot from him on that project. I'm not sure I'd call that his best solo record, though he did some really good work after that. Another person involved in that record was Doug Beiden. I don't think he got the credit he deserved on that record. He was the engineer, but had a lot of co-production on the record as well in my opinion.
Also very talented, and a genuinely great guy.
That record started off as a secular record…I don't do Christian music never have...and didn't for Michael's record. I think after it was all said and done, some of the songs were kind of altered to have a dual meaning to them. I'm not sure it was not a Christian record in the beginning - just a positive record…I think the label maybe spun it that way.
But who cares? It was a good record. Michael deserves to be a star in my opinion. If you ever have a conversation with him, you'll get that - especially if it's in person. He's very charismatic and to top that off he's genuine.

Are there any plans for Attraction 65 to get out on the road and tour as a band?
Absolutely! We are with "The Agency Group" - huge touring agency, we are so ready to go ready to meet the people head on!

Where did the other guys in A65 come from?
They are quite truly my 4 best friends in the world - every one of them.
I wanted the best I could find for each instrument. Some are there for one reason or another, but each guy is very important to the group. I've known them all for several years.

Could a record like Attraction 65 get made today if it wasn't for your home studio?
Yeah - if you had A LOT of money at your disposal.

How do you find working in the industry now in 2003? As challenging as it ever was?
I don't know ask me that next year.

You have been a pleasure to deal with - what keeps you down to earth and aware of the realities of working in the music business?
Hmmm not sure how to answer that my mama raised me right? I don't know - maybe it's a southern thing.

Who have been the best people you have dealt with over the years and the worst?
Well, the best have been all the folks from the Blue Tears band and Attraction 65 of course. Stealin' Horses - that's Kiya Heartwood, Kopana Terry and Jon Durno.
A very influential person for me was Jon Hornyak - he was my manager in the early days and a great friend.
He now works for the Grammy association out of Memphis, very down to earth intelligent all around good guy. I won't mention the bad guys…you know who you are.

You live in Nashville these days - when did you move there?
I live in Franklin, Tn, about 20 minutes out of Nashville.
I've lived in the Nashville area off and on since 1986...lived in L.A. for a short while…Jackson, Tn for a short while, but always came home to Nashville.

You speak highly of it - tell us why it's a great place to live?
Well, it sure isn't the music ha ha.
I love Franklin, Tn, it's kind of like Mayberry except it's about 25,000 people. Still looks like a small town, like 'American Grafitti', but with all the modern things you could want love it.

A little different than LA then?
Yeah just a little. I lived right outside of Hollywood just over the freeway in Burbank right next to Universal studios, so yeah it's pretty different.

And now this album is complete and about to be released - what comes next?
Tour...can't wait.

Anything you would like to say to the Blue Tears and Gregg Fulkerson fans out there?
Just thank you so much for listening. It means everything to me. This record is the best I could possibly do. I didn't cut any corners of any sort. I worked on it until I was finished and had nothing else to say and I'm very proud of it. I hope you like it.

Did you ever sort out that Gregg Fulkerson imposter that got us talking in the first place??
Trying to forget all about that…in denial about it!!!

Have I missed anything Gregg?
Thanks Andrew you are the best. I appreciate you more than you know. You helped influence me to try to break back into this and I think we are seriously on the right track.
Take care my friend…talk to you soon.

Brian Mc talks about his new solo album Voyage and the efforts that go into creating such an epic pomp rock release. Also check out Brain's excellent Track By Track interview.


Wind It Up was the last album - were you happy with the way that turned out and how about the sales?
Looking back now three years later at that release, I accomplished what I set out to do. The main point at that time was to release some of the rock tunes I'd written on the side while focusing on classical music in the '90's and also to write a few new tunes as well. There are a couple of strong songs on Wind It Up, but they are nowhere near the quality of the writing on Voyage. On the question of sales in 2000, we didn't sell as many as we wanted to, but I think we did alright.

Voyage sees a change of direction there - a more adventurous sound for sure. What were your set goals before setting out on the writing process and then the recording process?
A couple of conscious decisions were made before I started writing the songs for this one. The first was to head back in time to listen again to some earlier influences and take note of the writers, producers, and artists that created so much great music in the 1960's and '70's. So, while these things may or may not seem evident upon first listen, the parallels exist in the music. For example, the first song written for this release was “Out Of Time” - along with the lyrics that look at the subject of someone who wakes up after being out of it for many years, musically the song has 60's melodic themes running through it and a Wurlitzer piano sound that was typical on 70's rock albums. “Where You Are, Where I Am” is another example of this leaning toward reflection, bringing in melodic concepts from Motown writers, The Beatles, Beach Boys, and others. The second conscious decision I made before writing was based on a similar stream of thought that had to do with the subject of time as an integral part of all the song subjects on the album; a theme that runs through almost every song. As I kept this thread going, the songwriting process began to lean toward storytelling, which I think brought in a new perspective and new set of choices to make in the music.
As for some of the other processes, I set out from the start to adapt the music to the vocals at all costs. Because several of the songs tell stories, some of which are very detailed, the form and structure of the music became somewhat more complex to provide the right setting for the lyric content. The production and recording processes, particularly in the instrumentation choices and ways they were recorded had to mirror this form and structure. For example, the track “Legend” has two distinct bridge sections and an extended outro; and “Normandy” has an introductory section over a minute long before it kicks into the main body of the song. In the treatment of these, it became important not just during the writing of the music and parts but also in the recording process as well, to make sure the music set up the lyrics in a way that would draw the listener into and through the song. So, these are some of the things I was thinking about before moving into the recording stage for many of the tracks.

What did you hope to achieve for yourself with this album?
It always centers around making the best of each of the songs. I don't think I've ever had a target or measure for success more important than satisfaction with the results of the tracks themselves and that they each achieve the meaning and purpose of the original ideas. Also, along the way, like every songwriter I've ever worked with or met, I hope that listeners get something back from the music as well – that makes the experience of creating and getting the music out there more rewarding.

I certainly think it's a monster of a record - I compared the sound to Kansas, Styx, Chicago and even ELO and Def Leppard. Do these bands inspire you and are there any others that inspire?
These bands and others have made an impact on me, there's no doubt. When you're fortunate enough to come across music that really moves you, it becomes part of your language whether you admit to it or not. For the Beatles, it was 1950's rock and roll; you know, you can hear that throughout almost all of their writing. In the classical world, in Beethoven's first two symphonies, there were the melodies and structures of Hadyn coursing through the music, no mistake; for Stravinsky it was Rimsky Korsakov, and so on . . . and this is the same in any genre. So, this leads to the thought that for every writer, the influences that shape or affect their musical language become embedded in almost all of their choices and approaches to making music. For me, Led Zeppelin was a mover to me as Jimmy Page would bring exotic orchestral-like parts into their music with his guitar work and the band did this in a more obvious way with their instrumentation choices in songs like "Kashmir." And the progressive rock of Yes and the bands that followed them resonated in a big way with my Classical background. While ELO wasn't a big influence for me, there were songs and orchestral treatments that were very cool and struck me as unique for their time. And the work of Mutt Lange and his work with Def Leppard in the 1980's and also David Foster's work with the band Chicago represented different and unique types of producing, arranging, and writing that to me had roots in both classical and rock genres. Other major influences I would add are some of the Motown artists and writers from the 1960's, the Beatles, Beach Boys, the list goes on and on . . .

You are more or less a one man band! How do you organize yourself to record the album's individual parts and what comes first?
In contrast to the previous albums, making Voyage seemed to require more work along the lines of process – it was more than just coming up with song ideas and then making a decision to record them. On the other albums, for example, I would lay down many rough ideas to tape or disc, then use these ideas as the basis for new songs or construct songs directly from these ideas. But for Voyage, the process was more like writing an orchestral piece. I carried the ideas around and edited sounds and forms in my head for the most part. This incubation period lasted days, sometimes a week or longer, whatever it took to make the song whole and get to the place it needed to be for to give off the "feel” that it was ready.
Some of the songs you hear on Voyage took weeks to get to this place, and only a few came very quickly, like the tracks “Where You Are, Where I Am”, “Out Of Time”, and the title track, “Voyage” which seems to have written itself in less than half an hour. After a song would get to this stage, and I started to think about the best way to go about recording it, here would be the next set of decision points. In some cases I started with a scratch guitar or piano and guide vocal. For the more demanding uptempo tracks, I played the drums to create a guide track or used a click track, usually with modified tempi throughout the song, paying particular attention to transition sections and breaks/bridges until things felt as they did when playing the song through with just a piano or guitar. On the songs where a guitar or piano track were used as a guide and I either played drums or programmed them using samples I recorded previously, I could move quickly to the next steps which were relatively simple because the instrumentation had already been worked out in my head. Bass and keyboards would come next, then rhythm guitars, then backing vocals. When the track was feeling good and about 80% there, I'd record the lead vocals. If the track wasn't there as it should have been, I'd put it aside and move to working on another song.

I spent a lot of time thinking about the vocal performances for each song and it was a quick process to get either the vocal performance I wanted or make a decision to file the song away and come at it another day with a new approach. With the lead vocal track down, more often than not additional instrumentation and solos would be added, depending on the nature of the song. And all of this would be much more difficult without the luxury of having the means to record and not being worried about studio rates and session fees; and the technology gives you a hand here as well - the advent of non-linear editing and mix automation provides the freedom to change things even right up through the late stages of mixing as well as allowing control over the fine points of a mix and arrangement in ways that provide great flexibility in the later recording stages.

You do take your time recording albums - how long did the various parts of this record take to complete?
I recorded over twenty songs this time out, and narrowed those to thirteen for the European release, and fifteen tracks for the release in Japan. I also wrote many other songs and some instrumental pieces during this time period. In addition, there are other things I've done to make a living so far; making music doesn't seem to pay all the bills, no matter how much work I put into it! If I were just to concentrate on making rock albums alone, I might be able to release one every seven or eight months, but as things stand, I feel fortunate to have had the opportunity to write and release the albums I've done so far, and I'll continue to write and record as much as I can, as time allows.
To answer the question directly, I'd give a rough estimate of a few days on average to cut the basic tracks for each song, one day per song to cut the lead vocals, a day for each background vocal session. Each additional instrument could take anywhere from a few hours to a day depending on the complexity. And additive instrumentation or additional harmonies might take a day. In between the actual creation of the songs and the recording sessions themselves, I was involved in other projects as well, so I was in and out of working on about twenty or so songs constantly. So, considering the number of tracks recording in a single song on Voyage and the time put into making the song right before getting down to the recording process, you could definitely say I take my time going at it!

You have a few different moods on the album. Was that intentional?
Not intentional, but I like that aspect of this release. After finishing “Wind It Up” in 2000, I had this feeling that had been catching up to me during the recording of that album; a feeling that I was locking myself into constraints that held back the development of lyrics and freer flowing musical ideas. So, letting go of all of that and just writing led to the different moods and experiments with forms and melodies.

I see high-tech pop/rock then a more adventurous progressive element in the last few tracks?
The music is definitely touching that space in some of the songs and the next release will be more along those lines throughout I'm thinking. I was very satisfied with the sound of the instrumental break sections and outros of songs like “Shadows Of Angels” and “Legend” and the instrumentation choices in those and some of the others. That's the ground I'll start to build upon for the follow-up to Voyage – you know, to bring these elements out more than just in the breaks and instrumental sections and incorporate a few more surprises.

How about the addition of strings, brass and bagpipes! How do those instruments get into the plan of the album and are there any logistical problems getting those recorded?
Those instrumentation ideas came along with the first concepts of the songs for almost every track on Voyage. So there was no getting around the fact that I had to go out and get the players to do it. Recording strings is always a challenge, but easier when you have great players willing to experiment with you, on this the Mozart Force ensemble was great. Brass was easier as you can be very flexible; for example, recording many passes of a couple of instruments at a time to get the sound and feel you need for each part, then mixing these later. Recording of the bagpipes for the song "Unfinished Bridges" started with giving Liam McKenzie the parts, then recording them in several passes. As you probably realize, this instrument is a challenge to play, and this degree of difficulty can be compounded when you have someone like me who knows so little about the instrument demanding that certain lines and phrases be played a certain way. So to compensate for my lack of knowledge of the instrument, I rewrote many of the original melodic lines of the bagpipe solo so they could be played, and where I wouldn't compromise, I grabbed a bit of phrase here and there and edited it into the track where I wanted it to go.

Is everything recorded at your home studio?
Everything was done at my place, with the exception of Reb Beach's guitars and a few of the more exotic instruments (harpsichord and bagpipes, for example) Reb has his own studio and his tracks were recorded there.

How much do you think the album would have cost in a hired pro-studio?!
I can't imagine what it would cost, but I know that there no way a record company would pay for that many hours in a major studio! At that point, you might as well build your own place anyway. How's that for a circular argument?

I love the two big ballads - Night You Said Goodbye and between Heaven And Heart. Have you always been a fan of big ballads and where do you draw musical inspiration for these two tracks?
Thanks for that. Influences for writing ballads come from so many places. If I lined them up, I'd say inspiration comes from songs like Paul McCartney's “Yesterday”, which is probably the perfect ballad, to those classic pop ballads of Chicago in the 1970's and '80's. After I wrote “Heaven and Heart”, I thought it might be somewhat of a departure from the usual form, but as for “The Night You Said Goodbye” I had written that tune in the '90's and would consider it typical rock ballad form and changes. It was Magnus Söderkvist (A&R, Atenzia Records) who suggested I re-record that one for this release. It seems to get along with the other songs on the album.

I still think those tracks could be eaten alive at radio - have you thought of trying to get the songs placed in soundtracks? Or is the process of placement and radio play just too complicated/hard these days?
Several years ago, artists would depend on the record label or managers to plug in to these types of opportunities. These days, it takes more to get you there. Without a strong push for radio play in the U.S., it comes down to who you know and the luck of timing. There are a couple of tracks on Voyage that I'm sending out to producers in the chance that one might be the right fit for a particular movie or film project, but as always, being there in the right place at the right time rules the ability to make it happen. As far as Europe and Japan, I'm completely depending on Atenzia and King Records to make it happen as best they can. If the songs are able to make it on to radio playlists, I think there's a good chance for success with this one.

Do you have plans to market the record in the USA?
The last two records have been targeted for the most part at Europe and Japan, and marketing in the U.S. has been secondary. It would be great to get that chance, but as you know, strong sales and radio play in a non-U.S. geography doesn't necessarily mean you'll get the knock on the door to release on a major in the States. The market here is a strange beast right now, and I think a lot of folks are trying to understand the logic behind what's going on. I think for the most part it's become almost completely a reactive industry in the U.S. and as has moved about as far away from developing artists as it can go at this point. But despite the music business side of things, to my ears anyway, along with all of the things I don't like, some great music is being released here. And it would be something to hear Voyage get radio attention in the States, because I think these songs would stand out as something completely different from the current field playing today on rock radio. Until then, for people in the U.S., Voyage will only be available online or as an import in the major music retail shops.

We did a great Track By Track for the album, but aside from those comments, do you have personal favourite tracks from the album?
My favorite songs are “Where You Are, Where I Am” and “In The Shadows Of Angels”. Lyrically these two have some personal meaning, and also, no matter how you sing them or which instruments they are played on, they feel like songs that are easy to understand and relate to as a listener. Also, the ballad “It's Only You I Need”, which is only on the Japan release of Voyage, is one of my favorites as well.

Did you get a buzz to see the debut B.McD LP re-issues on CD last year?
Yeah, that was something. It seems a lot more people than I had originally thought were really into that album when it came out. I got this huge dose of email for many months after the re-release of that album on CD which really surprised me. I know we saw some sales in the U.S. for the original release, but I had no idea of the number of people in Europe that were into it and that still had the LP or tape in their collection years later!

Where do you go from here then Brian? What's first up on your to do list and what else lies in the future?
I'll get back to some instrumental pieces that I've been wanting to get to for awhile, and next month I'll start the new course into writing for the next album. As you mentioned earlier, it takes me a long time to do one of these so I might as well get started. And if the opportunities arise, it will be great to get the band together and play the music from Voyage live.

Would you like the opportunity to play live more, or do you prefer studio work?
I like both recording and playing out; any time you get a chance to play your music for people who want to listen – that means a lot. Whether it's to a single listener, a small group of people, or a concert hall, it's the same feeling. The studio work is also another extension of writing – it's something you do to reach as many people as you can with music, so I'll always be in there recording something. In the balance of things, I'm looking forward to more opportunities to get out there and play having just spent so much time recently in the studio.

What else musically do you get up to between making these great albums?
I write instrumental pieces, play a lot of piano, do some session work, vocals and keyboards primarily, and work on other projects to pay the bills. And this summer, I'm thinking of learning to play the violin. I've always wanted to do that.

And what do you do to relax?
I write and listen to music, believe it or not. Another thing is to spend summer days anywhere near the water, sailing or windsurfing.

What is Brian McDonald listening to in his CD player currently?
I've got a rotation going this week in the multichanger: The Beatles “Abbey Road”, Matchbox 20 “More Than You Think You Are”, Joni Mitchell's “Court And Spark”, and Gabriel Faure's Fantasie for Piano and Orchestra in G major – the Faure CD has been in there now for several months, I can't seem to put it back on the shelf.

Anything else you would like to add Brian?
Just a bit about melodicrock.com – As a listener, I really appreciate your efforts in providing a view into music that would otherwise not be made available or brought forward in the press. It's been a great resource to many people, so thanks.

Too kind Brian, I'm just doing what I love. Thanks for taking the time out to do this interview!!
www.brianmcdonald.com

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.