Gary Hughes talks about the new album and the chosen path of an indie artist, plus his now open to the public studio.

G'Day Gary, thanks for taking the time out to chat today. The new Ten album Return To Evermore is out now, having just been released.
How would you compare this Ten album to any other in your career?
This album was probably the most pleasurable of my career.
There's a real sense of desire and purpose in the Ten camp again and it has been a pleasure to work on the album with a air of freshness and hunger in the ranks again.
The general moral in the band is better than at anytime I can remember.

I said in my review that you are always busy and it didn't occur to me that it had been 2 years since the last Ten album!
We all know how you have spent this time - has it been satisfying for yourself?
Yes, very much so.
I was very pleased with the outcome of the Arthurian albums. They were a mammoth task and all in all I feel that they are very complete in the global sense of the phrase.
It would have been easy to make the project 6 albums long given the amount of material involved but as a condensed effort I felt it was as complete as I could make it.

To the new album first of all - Intensity Records - why your own label, and why now?
We felt it was finally time to go it alone.
We have made a considerable amount of money for Frontiers and other labels over the years, and we felt that it was long since time we made that money for ourselves.
Considering the scale of the albums we have sold we have never seen any royalty down the line after initial advance scenarios.
Also, input from the label, such as tour support, advances and development money had completely dried up in recent years as was proved when we self financed every single live date after releasing the last album Far Beyond The World.
There was no real reason to stay with a label that wasn't bringing anything to the table that we couldn't do ourselves.
We will probably sell less CDs in this way but in the end at least we'll see the money.
It felt like, in 6 albums, all we did was make the labels money.
We just thought it was about time we took control ourselves.

Musically the album heralds back to the sound of the debut and the earlier Ten records after the heavier feel of the last couple of albums. Was this a conscious decision?
Not really. I just try to make an album of the strongest songs we have at any one given time. This was simply the new batch and we are very pleased with the result.

Was it important fans were delivered an album that touched on the original aspects of the band's sound - the lush AOR textures and the epic styled rock tracks?
I think it was more important that Ten made an album that sounded like Ten.
Sure, we've tried different tones and textures over the years but have remained quintessentially Ten.
Once again we have made an album of songs we like and we are very pleased with the reaction to the album so far.

Tearing My Heart Out is an interesting track - it's the first time I have heard Ten really divert from the classic rock sound to a more modern feel. Is that something you were just playing with, or a hint of the future to come?
We are always looking to expand and experiment with themes.
We did set out to go for a more modern guitar sound on that track but again, it was just a song that felt different, but might widen the base of Ten's sound. In the same way that we have played around with eastern styles and Celtic styles in the past.

Tell us a little about the recording process - what goes first for you traditionally and what gets added last etc?
First comes the guide tracks. Usually acoustic guitar and vocals, sometimes piano and voice. We lay that to click track and beyond this point it's a multi-layering process musically and vocally.
Beyond that, the order at which things are recorded is usually down to availability.
Although surprisingly, drums have, on more than one occasion, been the last thing to be recorded on a Ten album.

I'm a big fan of the layering effect used throughout this and other records you have worked on - the guitars and especially the vocals too. How hard is that to get right?
Very. I owe a lot to the time I spent watching the late great Mike Stone on this.
I would say that the times I spent recording vocals and backing voices with him, rate amongst the most enjoyable times in my career. Balancing such things is a real art form. It has as much to do with shared frequencies as it does with a simple technical balance. I'm still learning even now.

I've asked this of other artists, but I'm interesting in your take on it - how hard is it to act as the producer as well as the artist/writer? How do you balance the two?
It's easy because at the end of the day, as the writer you already know how you see the track. It's just a case of creating audibly what you already hear in your head.

Ever considered being produced by someone else? (Not that you need to be, just curious!)
Definitely. The problem has always been having the money to do it. I guess I'm the cheapest option around at the moment.

It's amazing to look at, but you now have a considerable catalogue of music to your name. Considering the time between the debut Ten album and today - that's quite a feat - even more so looking at the quality of the output. What do you put your abilities, or knack of being able to work so quickly down to?
I think that having a musical education has certainly helped me.
The clarity of thought on a musical level definitely helps speed things up.
Also, once I start something I can't rest till it's finished.
The rest is down to a small amount of natural ability and greater degree of virtual insanity ;-)

Why don't some other artists - some with far more money and resources - have as good a work ethic? As I type now, some bands have recorded 2 albums in the time you have been a part of 10!
Thankyou for your kind words.
I think everyone works at their own speed. Some people just need or desire it more than others and like myself; I still do it for the creative buzz.
It's the best reason of all for it sure as hell isn't making me a millionaire.

Touching on the producer thing again - you have worked with a couple of artists before and created some definite highlights of the genre in the process. You have now opened your studio to the public with the aim of working as a producer for others. Anyone come to mind that you'd like to work with, or are there already some plans in place you can tell us about?
Yes. Arena Studios is now open to the public.
I really enjoy writing for other voices.
I would quite like to get involved with another Bob Catley type project.
One that can begin at grass roots level and see how far it can climb.
I loved writing for Bob and the artists on my concept so a writing project for someone else would be good.

The Once And Future King project was hugely ambitious - are you happy (looking back now) with the outcome and the overall result?
Very happy. There are always going to be things, in retrospect, that could have been different, but on the whole I'm more than happy with the result.

I was particularity impressed with the Danny Vaughn track - I'd like to see you two working together again - any chance?
I'd love to work with Danny again. He was certainly one of the most professional singers on the Aurturian concept, in the way that he communicates and conducts himself. I think there was some talk of a Tyketto reunion thing but I'd work with him again at the drop of a hat.

And the heavier more intense tracks also came out great - DC Cooper and Doogie White...not to mention Sean Harris. Do you see yourself dabbling in the heavier end of the scale again?
Yeah. Why not. DC's track on the Arthurian concept is one of my favourites.
Sean Harris sang out of his skin for me and I think he surprised a few people who had kind of written him off.
He's a great guy and a totally unique vocalist.
In actual fact, Doogie is the only vocalist on the concept not to have received his copies of it from me.
So if you're reading this `Doog', I need your address and your new phone number!

And from heavy to soft - I remain a huge fan of the Precious Ones album - any chance of a sequel to that Gary?
I'd love to do another album of that style. I have amassed plenty of strong material for it too. It's really just a matter of time and scheduling.

Are there any live Ten dates planned in support of this album at this stage?
Oh yes.
Our tour manager is talking to promoters in Europe at the moment about a possible new year outing that should include the UK and Japan also.

Anything else you have in mind that you would like to tackle in the future?
I have two concept ideas in the pipeline at the moment.
I don't know which one will go ahead but I should begin production on one of them early in the new year.

Anything you would care to add, or say to the fans reading?
Just a big thank you to you and melodicrock.com for your continued support of Ten.
Also a big thank you must go to the Ten fans around the world who have stuck with us over the years.
We hope you enjoy the new album and we look forward to seeing you all on tour in the new year.

Thanks Gary, all the best.

Purchase the new Ten album via www.tenofthebest.com or at your favourite online retailer now.

 

Glen talks in detail about his diverse, but rocking new CD Welcome To Hollywood, out now. And then there's his time with Styx!

G'Day Glen. Great as always to talk with you - you have had a busy time of it lately. Not sure where to begin, so maybe I'll start with the album and work backwards!
First of all, Welcome To Hollywood is now released. Judging by your Newsletter comments, it must come as a great relief to see if completed and actually available?
I am very glad this record is finished and finally finding it's way to an audience. As Bon Scott once sang, “I've done everything I'm gonna do. The rest is up to you”

It seems there were times where you felt that wouldn't happen?
Well, it sure took a very long time… Like Eric Clapton said, “Time can bring you down, time can bend your knees.”

Was the recording process for this album much harder/different to that of previous albums - and if so - why was that the case?
I've never recorded an album while on tour before. At the same time I was making “Welcome To Hollywood” I was constantly traveling, performing with Styx, Journey, John Waite, Bad Company, REO and Billy Squier. Meanwhile, there was the writing and
recording of Cyclorama, of which I contributed my share. So it was nuts ­ that would've been hectic enough, but I had to fit in recording time on my own disc whenever I wasn't doing all that other stuff.

This album is truly a work of art - more so than any record you have made in your career, this one really holds to a theme and features the most intense musical workout of any CD you have been involved in.
Do you think? Plink and I really did pay close attention to the recording process. I thank you for the compliments. I'm glad you think so highly of it.

What was your personal thought process going in to writing and recording for this album? What did you want to achieve?
I wanted to, as Woody Allen said in Annie Hall, “Achieve total heavy-osity”.

Seriously, my previous album, “Palookaville” was about the songs and a bit quirky and “DIY” sounding. I was listening to more Ben Folds and Jon Brion during the making of that one. For this new album, I'd been checking out some slick sounding, well recorded
current heavy pop records (like System Of A Down and Evanessence, for instance). Productions have become more sophisticated, at least in the Pop music world.

I also began to recognize what a large “Classic Rock” audience had become exposed to me though my work with John Waite, Patty Smyth and Styx. Together, these ingredients made me want to make a disc that sounded big and fat and glistening and spectacular. I also thought that approach might suit the album's Hollywood concept better than my quirky singer-songwriter style.

The use of additional production effects and drum loops, plus a slant towards the modern is a change of direction for you. Have you enjoyed doing something a
little different and unexpected?
I sure do, although I think I've always been into production effects and such (“Talking In Code” was a very techno-synth-Pop/drum machine record and ”Palookaville” is practically buried in audio zaniness). Like I said, I hoped to make a sonically dazzling album. I'm a card carrying believer in the “If you can't convince them with the truth, dazzle them with bullshit” philosophy.

Foremost, it was Plink's skill in the studio, especially with digital editing, that fires up this
album. He knows I like playing with audio manipulation and I encouraged him going for that kinda thing. When we began, I played him examples of absolutely slamming modern rock records that all had very advanced production standards, and there was
always an attitude of experimentation. That's what I was going for and we stayed pretty true to that aim throughout. Like Elvis Costello sang, “My aim is true.”

How much of a challenge was it to merge the classic singer songwriter with the more aggressive modern rocker style that the album takes on?
That was about the easiest part. I am naturally drawn to musical areas where I'm not necessarily expected to go. Ralph Waldo Emerson said, “All life is an experiment. The more experiments you make the better.”

The songs are typical of your searching/probing socially challenging lyrics. Can you tell us a little about the writing behind the songs?
I had the idea of making an album about modern celebrity culture. So there are a number of songs that touch on that topic.

I got into shoe horning as much information as I could into every tune. A lot of the lyrics were co-written with Bob Burger, and when he was done with a draft of lyrics, I'd add more to them and send them back to him. In the end this is a collection of some densely
written songs, lyrically speaking. I even somehow got into the habit of changing the words in almost every chorus.
(By the way, that ends up being hell on me when I have to perform live - too many damn words!)

How vital was partner Plinky's role in creating the album and ensuring it stayed on path?
Plink was, needless to say, invaluable. His dedication to sonics is untiring. I was much more the conceptual guy, but we both stayed pretty focused on all the fronts.
Plink is a very musical dude who approaches genius, but it's probably more his work ethic that wins. “Genius is one percent inspiration and ninety-nine percent perspiration.” Thomas Edison said that.

You wrote extensively in a personal journal that would be sent out to website newsletter subscribers. These thoughts and updates on the album were some of the best notes I have ever read. The notes themselves were a work of art! Were they a source of therapy for you while recording the album?
The Journal was a number of things for me. I personally crave any and all the technical information I can get my hands on regarding the recording of my favorite albums of other artists. I page through “The Beatles Recording Sessions” constantly. So I thought
keeping a written record of the steps of making this album might someday be made available for liner note reading nerds like me.
Then Paul Holt, my friend and webmaster, suggested I come up with a monthly message to fans who subscribed. So, this gave me a deadline for organizing the notes every four weeks. It put a “face” on who I was writing it for.
And then, it struck me as an opportunity to include something cool with the CD - Enhanced extras on the disc in CD-Rom form. I re-edited the journal, which
adds up to over one hundred pages of my psychotic musings about the process of making the album, and added it to the other bonus material (all accessible
by putting the disc in your computer).
Yeah, it probably wasn't without it's therapeutic benefits. And like Todd Rundgren said, “Anything worth doing is worth overdoing.”

How did you enjoy the feedback from those newsletters?
I was surprised that people seemed to enjoy my writing as much as they did. That is extremely encouraging. Like Joe Walsh's fans, “They write me letters, tell me I'm great.” I'm a lucky bastard.

Let's talk about the songs of the album – any personal favorites among them?
That's difficult for me to say. I care for all of them. Horace Silver said, "My songs are like my children. How can you like one more than another?" I think I like “BAM!” best, at least right now.

What about the use of a few older tracks on the album - what made them stand out to you as perfect to fit on the album?
There's only a few, actually. But I have a drawer that's filled with DAT tapes of songs of mine that have never been released. I have computer files of tons of lyrics to songs that haven't met an audience. Some of these I'm too fond of to let them fade away without people hearing what I've done. I want theses songs to “Step into the light” (as Dylan sang in “Highway 61”).

And you re-recorded the track you took to Styx - Kiss Your Ass Goodbye. It's a killer track and a monster live - where you not happy with the Cyclorama version?
I didn't have a whole lot of say regarding the production of Cyclorama, but to be fair, that might've been by my own choice. Winston Churchill once said “A camel is a horse designed by a committee” and I believe there's nothing more inefficient than too many
chefs in the kitchen when it comes to making an album.
I feel Cyclorama is a strong record, but I knew “Kiss Your Ass Goodbye” could sound punchier than the Styx version. Everyone played great on it, and Tommy came
up with a nice guitar counter-point. But the Styx production philosophy is a bit restrictive, and for a reason. Whereas they feel a need to make records that sound “LIKE STYX” - music that will to a certain extent fit in with their past “sound” - I am free of such considerations. I don't need to limit myself or 'live up to' some preconceptions. Hardly anybody buys my records!
Another thing was that I felt “Kiss Your Ass Goodbye” was one of the best songs on Cyclorama. Of course, you'd know I'd feel that way, since it's my song. But still, it seemed to me that if there were a snowball's chance in hell that Styx were to reach the mass market ­ which is necessary to the band's future if they wanna grab the brass ring again - “Kiss Your Ass Goodbye” was the obvious track to release as a single.
Alas, it wasn't and never would be. I understand the band's dilemma, in that they're trying to bridge their old audience with the current marketplace, but I also came to the realization that it'll never matter HOW good a song anyone came up with, it wasn't gonna get a shot if it weren't written and/or sung by Tommy Shaw or Dennis DeYoung.
Knowing that there were more people who HADN'T heard “Kiss Your Ass Goodbye” than those who had, I wanted to record it right ­ as potent as the current punk band records ­ and the song's story fit in more on my own album. The bottom line is that song doesn't suck. Why NOT re-record it myself?

There are a couple of tracks on the new album that feature rapping vocals. I've discussed this with you earlier, but can you tell us why you used such an effect?
By now, I believe we've seen 'Rap' rise as a viable, powerful musical expression. Just as Danny And The Juniors predicted "Rock and roll is here to stay" back in the day to all the disbelievers, it now seems pretty apparent, after 20 some years after it started, that “Rap” isn't going away. And there's a lot of rap in rock music now.
I wanted to dip my toe in that pool. I don't think anyone got hurt.

Ok, now on When The Shit Hits The Fan - what were you thinking?! That's an extreme GB song to say the least!
Well Andrew, I know your site is called MELODIC Rock, and I realize this track is heavy on the shouting and rapping and light on the melody, so I'm not surprised that you'd be put off by such an aggressive approach.
I understand that most of the people who are aware of me are Classic-Rock fans, like yourself. That pretty much means Anti-Rap. I've always felt Rap was the line drawn by Gen X to leave the baby boomers behind.
And I've read another Classic-Rock reviewer who compared “When The Shit Hits The Fan” to Rage Against The Machine ­ AS IF THAT'S A BAD THING.
I considered that a compliment. Let me just point out that Rage Against The Machine is a band that has probably outsold Styx for the past decade. Somebody is buying
those records. I should only WISH to have a following as large as theirs. Who's to say all those fans are “wrong”? I think it's simply a matter of taste. Some people love Rap-Rock. Some people love Linkin Park.
Some people love Nine Inch Nails. Some people love Emenem. Some people love Sinatra. I say ALL of them are right!
Like Sly Stone said, “Different strokes for different folks”.

I was raised on, and greatly influenced by, artists that changed from record to record, often taking surprising turns (the Beatles, Bob Dylan - Even Rick Springfield took a leap when he released Tao ­ and I know he lost a lot of “Jessie's Girl” fans for it,
while it's my favorite album of his).
Then again Sly Stone also said “…and so on and so on and scooby dooby dooby”, so what do I know?
In any case, I am not interested in limiting myself. And I respect the audience enough to assume many are about as open minded as I am. I am unapologetic about this.
In my journal “The Making Of Welcome To Hollywood”, I wrote the following paragraph:

“If you won't come to the HOLLYWOOD project with open ears, you might not like what you hear. It's still very much my music, but definitely a new approach in my presentation, and sometimes not for the faint of heart. I believe I lived up to my initial aim for the record's style: experimental, yet effective and accessible, hoping to appeal to classic rock fans without forgetting current rock fans. A more contemporary version of me (Burtnik v.2003), including my current interests, not without hints of my 80's big
haired rock thing.”

I think “When The Shit Hits The Fan” is absolutely slamming and I'd expect musicians (another sub-strata of supporters of my music) to dig the track most, but I also expected guys who limit themselves to “Melodic Rock” to not get it. And that's okay. Sinatra didn't
like Elvis at first and Andy Williams slammed the Beatles.
I certainly hope I'm not coming off too harsh on the Melodic Rockers of the world ­ you are perhaps the group that keeps me on any map at all and I am grateful. I love melody and harmony almost as much as anything in this wacky life.
But at the end of the day, when there are hundreds of albums by artists like myself, which usually won't sell a fraction whatever the new flavor-of-the-month act the Corporate Giants of the world are dumping millions into promoting, it will come down to how I feel about the album I've made. Did I challenge myself? Did I create something worth listening to, or did I only try to “fit in” to some format? Is it music I believe in, music from my heart, or just repetition of formulas I could recreate on autopilot?
I'd rather take risks than repeat myself. And in the words of Rick Nelson (early rock Idol and son of successful New Jersey Big Band leader Ozzie), “You can't please everyone, so you've got to please yourself.”

I found the passage of the tracks Spiritual War/Flash/All That's Yet To Come and The Muse as quite brilliant from a writing perspective. Did you always intend for these songs to flow together, or did that just develop?
I'm not so sure that it's all that interesting an explanation, in fact it may very well lull your
readers into a deep narcoleptic trance, but here goes.
There were two main inspirations for the way the album culminates. Initially, because I set out to make a more rocking album, I was concerned about “Cry”. Although it's possible that at the end of my life I might look back and consider this one of the best
songs I've written, I was concerned it might be too “soft”, too “adult contemporary” for this hopefully harder edged album. So I sought out to immediately follow up “Cry” with a kick ass rocker, in the same key and tempo. I employed an old guitar riff I'd been
schlepping around and the song developed musically, incorporating a shuffle idea of Plink's, although I still wasn't sure what the lyrics of the song were ultimately going to be about.
I had already begun planning the album's sequencing. One thing about “Welcome To Hollywood” is that there is a story, a message, a concept, if you will. I don't want to get into what that is, cuz that might make me look stupider than I already appear. But
let's just say I knew I wanted this “story” to end on an uplifting note, something inspirational. “The Muse” was an obvious choice - but so was “All That's Yet To Come”. So I connected those two together, and both are somewhat spiritual, at the very least
optimistic, in message.
I asked myself what comes BEFORE a spiritual awakening? Most often a crisis, a breakdown, or at least a dramatic ending to a previous way of looking at life. It became clear to me that what followed “Cry” should be a tense, escalating, edgy device. That became “When The Shit Hits The Fan”, which leads right into “Spiritual War”, a song which definitely addresses exactly what the title suggests ­ an inner battle for one's soul.
(Jeez, somebody make me stop with all this self-seriousness!)
Eventually, once those two were connected in medley form, I wanted to bring the listener back down gently. I came up with “Flash Before Your Eyes” which is really just an arrangement exercise, a way to recap all the album's previous songs. It's as if someone
was looking back at their life, replaying all the different episodes. This eases you into the very sparse “All That's Yet To Come” before “The Muse” finally ends the show.
So there are the two catalysts for the album's
Medley-like ending:
1. Musical and
2. Plot line.
Are you sorry you asked?

How about All That's Yet To Come. It's one of your great vocals and highlights your voice alone. How do you feel about this track now?
I thought that after all that sound from the preceding three or four tracks, it might be a good time top strip away EVERYTHING and simply record my voice solo, basically unadorned, up close and intimate. Besides, it fits into the album's 'Top-Secret' concept.
(Shhh…keep it on the low down…)

The Muse is yet another side of Glen Burtnik many would not have heard...
Do you think? It's actually based on a cool track Plink had come up with years ago. If I'm not mistaken, he had forgotten all about it until I brought the song back to his attention. We finished it together.

Roses For The Working Girl is an unreleased track you have massively updated for this record. The new version works well - what do you think?
Well, as you point out, we're talking about a tune that has never been released. I realize my music is hard to find, and fans have become good at finding outtakes and demos in this era of the internet, file trading and CD burning. But I actually have mixed
feelings on that topic.
“Roses (For The Working Girl)” was a song I wrote with Bob Burger and recorded a demo of with Plink around 1989 ­ when dinosaurs still roamed the earth – in preparation for my third A&M solo album. After my manager physically threatened the head of A&R for the label I was dropped and that record was never completed.

At some point thereafter, I was approached by a few European music aficionados, offering possible record deals. They asked for demos, so I trustingly sent some out. Now what happened next was that those demos became copied and traded all over the freaking globe. Some of those recordings I wouldn't have ever voluntarily wanted many people to hear.
But so be it. Being a music fan, I've collected unauthorized Hendrix and Beatles bootlegs myself, so I certainly understand the appeal. (I just wonder if the collectors understand what it's like for the musician ­ and if they can imagine how they'd would
feel if, lets say, ugly personal photographs of themselves were copied and traded far and wide, blemishes and all, without permission…).
Anyway, among those demos was “Roses (For The Working Girl)”. And that one seems to have gathered some popularity with the fans.
Here it is, years later, and while I was in the planning stages for the “Welcome To Hollywood” album, Magnus Soderkvist of Atenzia suggested that tune. I remembered that it was not only a decent song, but one that I've been often asked about, especially from the AOR/Melodic Rock heads.

My only concern was that the song was inherently dated. I kind of worried the lyrics might be slightly Springsteen-ish by way of Desmond Child and that the original arrangement was sort of Bon Jovi-esque. It was a song I thought might've worked in 1989, but I wasn't sure about it fitting in with my newer music.
So Plink and I were on a mission: to take a good but dated song, which had never before been released, and punch it up, “modernize” it, in hopes of making it new again. And I wanted it to fit in with the new album.
I think we did a decent job. Plink really deserves a tip of the hat, because he started it off with the aggressive dance/rock groove for the track, which I immediately reacted to. Then, once I tried to interject a bit of AC/DC in the guitars, Plink took off with it. I think it sounds like a hit record now, and I could imagine everyone from Rob Zombie to Britney Spears covering it. Finally, Bob Burger and I streamlined the title down to “Roses” for this incarnation.

You have included a DVD with the first pressing of the album. Who's decision was it to do something like this?
I have a friend, a fan really, who began writing me letters when she lived in Japan. Eventually I got to see her at enough shows that she became a friend. Her name is Megumi and she lives in Canada now. While I was working on this album, she approached me to ask if I'd mind being the subject of her Film Making Class project, suggesting making a video of something off “Palookaville” ­ a song called “Watching The World Go By”. I counter offered to rather do a new song from the new record. We decided on “Another” and she made a really lovely video for the song, shooting my scenes in Buffalo, NY.
Around this time I had a dinner conversation with a couple of sound engineers, Doug Nightwine and Gary Loizzo, regarding present day consumer technology.
I'd just read that DVDs were outselling CDs in recent years and it all got me to thinking (which is always dangerous). I wondered, wouldn't it be cool if I could manage to compile a few videos for the album? So I called up some friends, and friends of friends,
seeking volunteers to create videos for my music ­ for the experience of it.
What we came up with is about 9 music videos. These are not big budget videos, they're mostly homemade. But they're not bad!
Atenzia Records generously agreed to do manufacture an initial Limited Edition release of “Welcome To Hollywood” which includes a free bonus DVD.

What can we expect of the DVD?
There are videos for the following songs: “Welcome To Hollywood”, “Another”, “Bam!”, “Kiss Your Ass Goodbye”, “Super Boy”, “Roses”, “Heart In 3” “Cry”, and “Intermission”. I am in every video. There's humor in some and regular “rock video” ones as well as
experimental stuff. I made a few. My son made one. There's a great one by Jerry Heer, that looks like a band, but when you look real close you see that they're all me. The disc should come with a warning, “CAUTION: IF YOU DON'T LIKE THE LOOKS OF THIS BURTNIK GUY, DO NOT PLAY THE DVD.”

Would you ever record the whole album making process for all to see?
You mean create a documentary of “The Making Of 'Welcome To Hollywood'”? I actually thought about that and would've loved to do it. But honestly, I had
too much on my plate as it was. And anytime you introduce a camera to a situation, people act different, and the working priorities get altered. Besides, Plink's studio is so small and cluttered and it would mostly be footage of two guys staring into a
computer monitor. Just like you are right now! How does your hair look?
But if you're asking if I'd do it all over again ­ in a heartbeat.

Was it a hard decision to leave Styx?
Sure it was. It was a steady paycheck and I was treated like a rock star. Styx has such a good staff, and unbeatable crew, everything was taken care of.
There is much arrested development in the touring rock band lifestyle. Basically the only responsibility I had was wiping my own ass. I think I miss Todd Sucherman most of all. He is one of the best Goddam drummers I've ever worked with.
That being said, playing in Styx circa 1999 until the present was keeping me away from those who love me most. And I was going along with tending to the whims of other guy's wives (instead of taking care of my own).
Did you ever hear that Dylan song, “I ain't gonna work on Maggie's Farm no more”?

When did you begin to think my time here is up? What promoted the decision to leave and get off the road?
Well, I realized I wasn't going to be able to persuade the others that we didn't HAVE to constantly live on tour buses, that there are other ways for a band like theirs to work, and quite effectively actually.
It was me, not them. Those guys are quite satisfied with spending so little time at home and I was apparently the only one unhappy about being away from my kids and my wife.
I was beginning to come apart and I developed full blown personal issues. I also concluded that the heart and soul I was putting into the show every night was ultimately pointless, that my influence on that band would never equal the control of some of the
people who weren't even on stage, and I was personally in danger of losing touch with my own family.
I think it's all well and good to write and sing songs extolling the virtues of love, but I BELIEVE in that stuff. As the Darkness puts it “I believe in a thing called love.” Ultimately I'd rather live love for real than continue in some adolescent rock star
fantasy.
Now, the audience is much much smaller, but at least I'm in charge of my own life, make my own decisions.

You solo crowd walking spots were popular with Styx fans - did you enjoy your time in the spotlight?
I had a great time every night. I took to running through the audience every chance I had and enjoyed the living crap out of it. I like to think I stole the show, at least for a few minutes each night.

I saw the LA 2003 show the fans were just eating it up - it's one of the few new tracks played by Styx or Journey that night that saw the crown united on their feet clapping along. That must have felt great!
Yes it was great fun. I got to exercise my showmanship a little. I felt good about injecting that kind of energy into a “classic rock” show. It was maniacal and perhaps triggered by some deep rooted psychologically twisted “the little boy who could” ego
trip. Oh well, you only live once, make a big noise.

Is there any chance on earth of the Talking In Code and Heroes & Zeros albums resurfacing on CD?
Yes, I guess there is a chance on Earth. I just don't wanna do the accounting. I've always been much more interested in my new music than in the maintenance of my back catalogue.
Besides, the accolades you and others have so kindly bestowed on me regarding my earliest releases are wonderful and positive publicity, however I suspect that “Talking In Code” really isn't as special a record as it's reputation might have one believe, and
I've often wondered if the 'legend' of it is better than the actual recording.
As one songwriter put it, “Well there's mystique and there's mistake…”

How do you feel about the compliments that still flow to this day about those two great AOR albums?
It really is quite humbling, especially considering the original sales (dreadful) and that
they've been out of print for over a decade. Just the fact that you're bringing up these albums is some vindication ­ which I'm very grateful for - and I'm amazed that anyone knows about this forgotten music at all. I was really blown away to have seen copies go
for over $400 on Ebay!

You have a wealth of unreleased demos recorded - is there any chance of a box set or anthology release being put together to unearth some more of these gems? Perhaps a Retrospectacle 2 sometime?
I was approached about a box set a few years back, but I wouldn't exactly hold my breath, if I were you. Then again, like John Lennon said, “Tomorrow never knows.”

Where to from here Glen? Any solo touring planned and how do you intend on trying to get a US release of this great album scheduled?
It looks like there's going to be a way to get the album in the U.S. (but that wouldn't be on a major label - it doesn't matter to American labels how good your music is, it's about other stuff: how young you are, how young your audience is, etc. They're in the business of ignoring music fans - like Melodic Rock.com readers. I've played the game of releasing a record on a 'major' only to watch it go unpromoted. I don't need to sign my life away to some corporation to do that…He said grouchily).
I'm playing gigs here and there with my new band, which includes Tom Brislin (Yes, Meatloaf) on keys and my son Beau on bass. And I have plans to record a new
album, which will probably be very different from “Welcome To Hollywood”.

Please don't leave it 8 years between solo albums this time!!!
I'll try not to. Thanks for your interest and encouragement. And if I may quote Lord Buckley, “People are the true flowers of life, and it has been a most precious pleasure to have temporarily strolled in your garden”

Thanks Glen, you are a true gentleman and a legend to boot!

Mickey Thomas talks a little about the Over The Edge project with Fabrizio Grossi, life in Starship and placing a modern twist on the AOR sound.

First up-congratulations on a great and lengthy career-you must be very proud of the body of work you have produced.
I'm very proud and I feel lucky and blessed. I've been so fortunate to have unique influences and associates in my career. Everything from Elvin Bishop to Grace Slick.

Let's jump straight to Over The Edge project. First of all, you signed to Frontiers for an album some time ago and at that time it was for an album under the Mickey Thomas/STARSHIP moniker. Can you detail the events of the time between signing and commencing work on OTE and why that project name was selected?
I was originally signed to a solo album. I wanted to do something a little more modern and original. Serafino Perugino from Frontier's really wanted me to do something a lot closer to the 80's sound of STARSHIP. In the end we compromised on the special project CD "OTE" = 80's melodic rock with a modern production.

The concept of the singer picking tracks with Fabrizio supplying the much of the music has been done a few time by Frontiers, but none better than this project. What elements make it as strong as it is-besides the obvious choice of your great vocals?
Fabrizio and I had a great chemistry right from the onset. We were fortunate to have some great songs to choose from, and great writers working for the project.

A few tracks were custom written for the project-did you have any personal input into those?
Yes, Jack Blades & Neal Schon wrote "One World" and "Surrender" for me. After we started the project Jack and Fabrizio then wrote "Over The Edge" and "Glory Day." I just suggested what kind of songs I thought would round out the project.

How about the songs that you picked out yourself-how many were offered to you-how many did you like/not like and what attracted you to the songs you did pick?
I was offered many songs for the project. All good songs but I have to pick the ones that touch a special chord in me. I like to choose songs that I wish I would have written. I chose the 10 songs on the C.D. from a list of about 75-100.

Let's take a look at a couple of the tracks in particular - I love the version of (Thief) I'm Falling even more than the original! That's a great sound for you I think.
I think "Thief" is a song that gives the C.D. a modern touch. It's a great melody and it gives me a chance to explore the lower range of my voice in the verses.

Forest For The Trees is already a bit of an Aussie classic thanks to TaxiRide, what attracted you to a more modern and heavier sounding track?
How was it working with Steve Lukather on that track?
Again "Forest For The Trees" is a modern sounding song and that is what attracted me to it. I've been trying to do something with Steve for 25 years and this song seemed like the perfect vehicle. Steve was great as always. He's also one of the funniest guys you'd ever want to meet. Very clever.

You state that Glory Day is your personal favorite track. For me it was the hardest to like initially, yet one of the most rewarding tracks to listen to in the end. What makes the song special?
I like the fact that the song does grow on you. It's not a song that jumps out at you. The more you listen to it the more the song takes shape. I love the contrast between the verse and the chorus. It's also my favorite back ground vocals that I did on the C.D. I also think this song will be a great stage song.

The Jon Cain ballad is also something special isn't it?
As I understand it "Eyes Wide Open" was supposed to appear on the last Journey album. For whatever reason it was decided not to put it on their C.D. and that was lucky for me. I feel the song is as good as anything Jonathan has ever written and we know what a high standard that is.

Fabrizio is obviously a talented fellow-how do you look back on your experience working with him?
Fabrizio is very motivated and has boundless energy. He was so instrumental in organizing and recording. He kept the project moving and we never lost momentum. He's also very good at producing vocals and is a real diplomat. I can't wait to work with him again.

Given the initial time frame getting this project off the ground, can you see yourself doing another Over The Edge record and if so-when?
Now that we have found our sound and our system for production, I think we should definitely do another OTE record in the near future. Also other projects as well.

xxxx

If we could divert to STARSHIP a little-the band has a complicated history-where does it lie right at this point-what's the lineup and is there a recording future for the band?
I reformed the STARSHIP in the mid 90's with a new lineup of musicians. At this point the band is more focused than at any point in its complicated history. It's the best group I've ever been in. We're all on the same page and the camaraderie is great. We play about 75 gigs a year, mostly in the U.S. and we can't wait to tour Europe.

You are doing a lot of touring-like so many other bands, there is more money in touring than recording. How are you finding audiences in 2003/4?
Our audiences are wide ranging. We get everything from teenagers to 50 year olds. I think we're getting close to having no generation gaps in rock music.

I always found Starship's best tracks were the album tracks that received little publicity. Was the band hamstrung by the very commercial hit singles, or is a hit single a win-win situation, given the financial rewards?
I agree with you. Some of my favorite tracks are the ones that receive little attention. I don't think we were hamstrung by the hit single so much as by the long history of the band. Because of the association with Jefferson Airplane and the music of the 60's, any commercial success we achieved in the 80's was viewed by some critics and older fans as a sign of selling out. I'll personally take the hit singles because that more than anything has allowed me the opportunity to have a long career.

Do you keep in contact at all with the guys of the 80's Starship line-up, such as Grace and Craig?
I don't keep in contact with former members. There's really no bad blood. We just all have very different interest and live in different places. I do have a close and personal relationship with the former manager of Airplane/STARSHIP, Bill Thompson. We keep in touch and he keeps me informed of what everyone's up to.

I really enjoyed Starship's work with Mike Shipley - I though tracks such as The Burn and the Love Among The Cannibals album to be on the verge of further greatness. Why don't you think the momentum of We Built This City and Sara continued through that era?
"Love Among The Cannibals" is my personal all time favorite STARSHIP album. I think it still holds up today. I think there were a number of factors why the album was a disappointment. It was the first album after the departure of Grace Slick. There was some backlash from the string of hit singles. Also right after the release of the album we had a serious crisis in the band involving a violent fight that prevented us from touring and promoting the album. It was a huge disappointment but it's still my favorite.

STARSHIP did make a recording recently the Latest and Greatest release. Can you tell us a little about that? Who approached you to do it-was it a good idea and how did you approach reworking the originals?
I just thought it would be exciting to go back in the studio and re-record all the STARSHIP classics after having performed them for 20 years. The songs had evolved a great deal and I thought it would be interesting to capture the evolutions on record. I guess it was a good idea but it was not well promoted.

It was released in Europe - why no USA release - or could one be possible at some stage?
I don't really know why it was not released in the U.S. I don't think there is the possibility of U.S. release at this stage.

And that all said and done - what's next for you Mickey? What's next on the horizon for yourself and for STARSHIP?
More new recordings. After my experience with "OTE" I'm ready to release all sorts of new projects. Also more touring, hopefully in Europe.

Anything you would like to add to anything above and is there a message for fans you have?
I'm so encouraged by the response to the new C.D. I want to thank all of you for your loyalty and support.

Tim Donahue had a broad vision for his follow up to the successful Into The Light release. This time he enlisted Dream Theater vocalist James LaBrie to drive the powerhouse progressive / melodic metal project. Tim speaks about the already highly acclaimed results!
Hi Tim, congratulations on the album - which is finally available!
This one has been a long time coming hasn't it? When did you start work on the album and did you envisage that it would take this long to complete?
Thank you Andy. I started composing MADMEN & SINNERS in 2002, and I really didn't think it would take 2 years to finish the album.
There were a lot of technical problems came up that had to be solved along the way.

From memory, you had plans for this album before the Into The Light project
was released - have you realized your long time goal with this album?
You're right- some of the initial music for this album came to me as INTO THE LIGHT was being released. I'm happy to say that musically speaking, the MADMEN album is everything I wanted it to be. Production-wise, there will always be things that can be done better. I'm aware of this. But the music comes first, before anything else in my book.

The music in not your average hard rock, nor even your average progressive
rock - it's something a little different again. Why chose this route to write/record in?
I really didn't decide a direction to write the MADMEN music in. It came to me quite naturally Andy.
There is no pre-determined songwriting process for me. I just make sure that the music hits me at the songwriting stage. This is an important point for me- the music must hit me at this very early stage because I don't want to rely on over-arranging and over-playing to make the music interesting. The songs must be interesting right from the early stage of composition. THEN it's easy and fun to arrange later on.

Did you have any influences going into making this record - other artists
or albums your really admired?
Dream Theater's SCENES FROM A MEMORY had an influenced the way I approached the vocals. Other than that, I would say older prog rock combined with the general heaviness of today's metal influenced the MADMEN album. Of course, the balance of all these elements within a set concept gives the album its character.

How has the album been received by those you have heard back from?
I don't mean to exaggerate this- but the response has been absolutely fantastic.
I never expected such an outpouring of letters, great reviews and media attention.
Let me take this opportunity to thank you for your kind support.

Anytime Tim! In selecting a vocalist to work with - what it always James LaBrie or
no-one, or did you have a short list you would have been interested in working with?
James was the first vocalist I thought about for this album because I wrote
it with his vocals in mind. But I'll be honest and say that Ian Parry's vocals
were in my mind too, for some of the tracks. That's nice because James & Ian are two of my good friends and favorite vocalists.

It's great to hear James on this record - something a little different for
him again. Have you had much feedback from Dream Theater fans yet?
Yes, very much so. Even though MADMEN & SINNERS is quite different from DT,
I'm glad that so many DT fans are receptive to this approach to prog/metal.
My music is not easy to sing, but James sang great indeed!

You play many of the instruments yourself - isn't that being a little
greedy? :) !!
Maybe so! On one hand, I play everything myself because I'm guaranteed 100% satisfaction. It just takes longer to make an album this way, and it costs a lot to put a tour together once the album is done.
On the other hand, I love working with players whom I respect and who reciprocate
the same level of respect. Many bands break up because this basic ingredient has deteriorated, for whatever reason. But when it's right, it can be magic-
so, I'm always looking for players to work with me.

Tell us about the problems you faced while recording and mixing this album
- there were several studio difficulties to over come weren't there?
Aside from the normal compatibility issues that arose when making my new studio,
potentially fatal issues like the unexpected loss of massive amounts of data almost ruined the entire album. Things got resolved, but it took most of the summer of 2003.
I was a truly madman all summer!

With so much pressure on yourself as an individual, how do you manage that
stress?
I stay away from open windows...
Actually, I'm not so good at stress management, and tend to lose a little insanity
with every album. Maybe THAT'S the reason why my music keeps getting heavier.

And following on from that - how do you take a step back and look and
listen to the project objectively?
Many times during the production of an album, I'll listen to other kinds of music because it unlocks my mind from the music at hand. But being so immersed in production,
I never get to really step back until a year or so after an album's release.

You obviously were able to in some capacity as the album sounds immaculate. But how blurred does the line between the artist and the producer get - when you are in fact both?
When starting out, the line is indeed blurred. There's still so much for me to learn, but in my opinion, the trick lies in making the line between being a producer and artist as clear as possible. This means developing a 6th sense, so to speak, in order to produce your album as objectively as possible.
If you're an artist, this can be a very difficult thing because you've probably spent a hell of a lot more time as an artist than an objective producer.
That said, I think its best to have an outside producer whenever possible. It must be the right person and many other factors (like the respect for each other and a mutual vision of the album) must be right-on.

Let's talk about the songs themselves - can you give us a line or two about
the music and inspiration behind each track?
MILLION MILES: a cynical look at the Cold War and the insanity of atomic war.
This track features real 1950's USA Civil Defense announcements, and comes to
a thunderous conclusion with the launch of a nuclear missile and climactic explosion.
The fretless guitars sound just like a bomb attack- a very scary track.
LET GO: The pain of innocence lost. A cathedral-like ambience sets the mood for this ballad,
which features authentic pipe organ, acoustic guitar and James LaBrie's passionate vocals.
MY HEART BLEEDS: Another cynical theme, this time regarding religious hypocracy. The pulsating
intro features demonic voices, and layers of thick synth textures. The main body of the track features heavy, intricate instrumental work, climaxing with a large cathedral chorus.
FEEL MY PAIN: A powerful blend of heavy metal and jazz fusion, this track features unusual but catchy
melodic moments, coupled with equally unusual guitar work. James' vocals are intense, and the track concludes with equally intense band interplay.
MORTE ET DABO (The Gift Of Death): Real Gregorian chant sung in Latin by an 80-member choir.
Church bells and an eerie narration create a dark ambience, preparing the listener for the next track…
CHILDREN OF THE FLAME: Dark and complex, this track takes a cynical look people who actually believe in Judgement Day. This track builds gradually, and finishes with a massive climax depicting the end of the world. The lyrics are apocalyptic: “…burning ashes start to rain, on the children of the flame”.
God's anger comes through in the final, thundering chord…
THE END: Contrasting with the complexity of CHILDREN OF THE FLAME.
This simplistic track deals with the guilt of love and sin, and features passionate vocal and fretless guitar work throughout.
WILDEST DREAMS: The story of forbidden love and fantasy.
Again, I arranged this track for Gregorian chant, passionate vocals and acoustic guitars.
I think James sounds his best on this track.
MASTER OF THE MIND: The story of a mental patient who is wrongfully committed to
an insane asylum, where the neurosurgeons are also insane. Not a nice place. The track features intricate band interplay and some neo-classical elements. I love the fretless guitar riffs throughout this track!
MADMEN & SINNERS: a 15+ minute epic, combining instrumental and lyrical themes from tracks 1-9. This lush composition includes haunting chant and orchestration, with diverse fretless guitar and vocal work throughout. These elements come together at the end, and conclude the album in a powerful climax of choir and lush orchestration.

Is there anything you didn't achieve with the final album that you felt you
wanted to?
Musically, no. For me, MADMEN achieves the desired balance of beauty & heaviness,
melodic writing & technical playing. I would have liked to record the drums differently though.

What do you do next to recover from this epic album and the work involved
in recording it? What do you have planned to do next?
I'm busy promoting the current album. At the same time, I've started composing the next album while preparing for fretless guitar clinics in Japan and maybe Europe.

Perhaps another Madmen & Sinners album is in the back or your mind?
You guess it- MADMEN 2 is being born as we speak!

Were there any tracks recorded for this album that didn't make the cut and
might they surface somewhere else in the future?
Yes, we recorded some beautiful acoustic tracks which are more suited for
MADMEN 2 than the current album.

What's currently on rotation in your CD player Tim?
The MADMEN 2 demos!

Anything you would like to add?
Thanks to all my fans, and to you Andrew for your professionalism and support!

Many thanks for your time to talk and please let me know if you need
anything.
A pleasure mate!

Tony Harnell talks from his temporary base in Norway as the band continue to do press in support of the release of their classic My Religion album. Tony talks about the trials and tribulations of getting this album written, recorded and promoted.

G'Day Tony, thanks for talking TNT with me! I know you have seen my review already, but others seem just as enthusiastic for the My Religion album.
This must be very satisfying for all the guys?
Yes of course. Very much so!

My Religion has been some time in the making - all said and done - was the effort worth the result?
I believe it was. You know, some bumps along the way and I always think we can do better, but we did pretty well!

Could My Religion have been possible had it not been for Firefly and Transistor?
No, I don't think so. I think those albums were turning points creatively for Ronni and I and ushered in a new era of writing styles for us as a team.

Those albums have their fans - I rather like Transistor, but as a band, you really took some shit for their musical style didn't you?
We certainly did. A bone of contention between me and the fans for sure but I respect where they are coming from and it's not all of them either, just the real hard core conservatives. But hey, there was something they liked about us from another era and they want to hear more of that.

As you already know, I think My Religion is classic TNT, but with a healthy dose of modernism and a few new twists. But what was the catalyst for your guys sitting down and coming to the conclusion that a "classic" TNT album was really needed, or even wanted by you all?
Probably the response of the last two albums. We realized that if we were going to do this we had to get back in touch with the fans and what they wanted us to be. However, I stated clearly, and Ronni agreed, that we still had to find a way to move on and please ourselves musically and with the writing. I think somehow we managed to do that simply by staying focused during the writing and recording sessions.

Ok, so with that in mind...where did you guys start? How did you get the ball rolling?
We started by talking a lot on the phone and discussing the sound. Then we got together a few times and started writing. The result being the EP and of course that lead us to the album. I think the EP was an important process as well. It let us sort of find our footing so to speak.

Whose idea was the EP?
It sort of came about as an accident. I don't really know whose idea it was.

Did it serve its purpose?
I think it opened people up to what could be coming on the album and it created a buzz. So I think it was a good thing.

I see all but one of the songs were written by you and Ronni. How would you go about that process?
He'd send me music and I would come back with ideas for melodies and lyrics and I would also come with lyrics first and melodies. We have many ways of working and they are work well.

TNT is unique in that you reside in NYC and the rest of the guys are in Norway. I've read how you handled it in the 80's and 90's, but given the realities of hard rock in 2004, how difficult was getting this album recorded and just how was it done?!!
It is more difficult now of course. I hate to leave home. I just got married and I hate to leave my wife. But I love when I am working. I love being in the studio and finishing a new song. It's so satisfying. But back to your question, let s just say a lot of traveling was done by me!

You've privately praised the mix of Tommy Hansen to me - just how important was his role in making My Religion as good as it is?
Very important. We really just sent him files. Some from Norway and some from me in New York. I was so nervous it wouldn't all come together at the end and would sound weird or disconnected in some way. Tommy knew exactly what to do with everything. We did give him a lot of direction but he did a lot of things on his own and shocked us with his amazing sonic abilities. He really did make the album come together.

As an example, I love the fact the dark and powerful songs like She Needs Me and My Religion - are still highly melodic and instantly catchy. As a song writer, how do you ensure that each song has something for the listener to grab on to?
I always just feel that if I like it, if I don't get sick of it then maybe it's a good one.
I usually put something away for a few days or so after writing it to give it a rest and then go back and if it grabs me on a fresh listen there is usually something there. I am not always right, but getting better at it.

I also love the pop sentiment of Everybody's Got A Secret and Satellite. Can you explain the sound of those tracks vs the almost opposite vibe of Live Today and Invisible Noise?
You nailed it. It's pop. Ronni and I love pop. Especially 70's pop. I think it's fun and lightens things up.

Something that was truly different for TNT was the haunting track Song 4 Dianne. How did this track evolve and how did the female vocal and Celtic influence get included?
It evolved over a late night writing session and grew from there. It's a song about my wife's mother who passed away from cancer last year. My wife (Amy) went through a very intense time caring for her mom the last 6 months of her life and I wanted to give her something to make her feel a little better about the whole thing. Also Amy and her mom are English and the song has this Celtic vibe that was just perfect. After we finished it Amy came over to Norway to visit me and I asked her if she wanted to sing and play recorder on the track. She loved the song and lyrics and she did a beautiful job on it. The song is one of the most popular on the album and I get positive comments all the time about it. There is even talk about it being used on a movie soundtrack in the future.

Everything U R was the last track added to the album's make up. How did that come to pass?
It was a leftover and it got resurrected at the very end of the recording. I think it adds something to the overall album.

Do you have any personal favorites from the new tracks and are there any you are really looking forward to playing live?
We have been touring now and playing quite a few of them. I would say that they all sound great live, I especially love She Needs Me, My Religion and Invisible Noise.

How about dealing with record labels and such in 2004 - how has the band had to change their approach?
It sucks actually. It's very different. Thank God for our label in Norway, Playground Music. They make it all worthwhile. You can look them in the eye and see honesty. They are genuine people with a solid plan. If there is anything that makes me not want to do this music anymore it is dealing with what is left of the business side of melodic rock.

Who chose what songs from the EP to be included on the various versions of the album?
The various labels.

Aside from Japan, no one is getting any "bonus" tracks, but why 3 versions of the album - Europe, USA and Japan?
I hate it. I think it cheats the fans somewhere in the world. But this is another effect of being an indie band with separate labels in each territory. The Japanese always get their bonus track. It's in the contract and has to do with their import problems. Europe and Japan often disagree about song styles so they each had their ideas about the EP songs and in the USA the EP never came out so it seemed natural to have all the songs on the new album as one whole piece of music.
It's frustrating as hell and we try to do out best with the situation. The fans sometimes suffer for all the business crap. Bottom line is that we have to let the labels do what they think is right for their markets.

The CD has some simply fantastic artwork! Tell us how that came to be and if there was any set plans in mind when having the artist start out on it?
Sort of. I mean, the title sort of naturally pushed him in the direction he took. I think it's the right cover for the music and seems to please the fans a lot.

What can a band with a history such as TNT do in today's music business set up do to get seen and get much deserved recognition?
We're trying to figure that out now. If we could do in every market what we do in Norway we'd be rocking. We do a lot of TV and tons of major press there from the national news papers to major fashion and music magazines. We're more of a pop/rock act on stature there than a has-been melodic rock band. But I think our songs warrant that kind of attention and unfortunately money needs to be spent on a grander scale to see even a glimmer of that elsewhere in the world. For now it's simply to show people how powerful we are live and keep pushing the album.

Does it frustrate you that an album of My Religion's fine calibre and major label sound might not reach its potential fan base due to the fact it may not be found in every record store and featured in every magazine such as many pop acts are?
Of course. Especially after the year I had making the album. But I sort of expected that. I know who and what we are dealing with, but we did choose to deal with it. People always have choices in life despite what some may have you think!

What can we - as fans within this scene that do find out about this and other great albums - do about that?
Be more unified and demand better albums and music. Don't accept second or third rate music from the smaller labels. Don't buy it if it isn't good enough.
Force them sign better artists and make better albums. They can do it if they want to. Better music will lift the whole genre up and not make it a joke. I think this genre has to set higher standards for people to take it more seriously. Also, tell people outside our community about a great album that you discovered.
If there is something you love, send out e-mails or go to a website NOT connected to melodic rock music and talk about it. Get outside the melodic rock world to promote it more. This community is already sold on the style. We need the other people to know about it too. There is a huge untapped audience out there. They loved rock when they were young and they want new rock that sounds like the old rock now. They also have money. 30-50 year olds want to buy music! The question is how to get to them?

What are TNT's plans for world domination in 2004?
Touring and touring and getting people to hear this album.

You, yourself, are a busy man....what's coming up for you in 2004 - what are you working on?
I am working a lot on TNT of course. I am working on a solo album as always and various other things are in the pipeline. Harry Hess and I have been taking about doing something together as well so we will see.

What comes next for TNT - can you do this all over again next year for another record?
Oh man. I can't even think about that yet. One step at a time. We have some more TNT plans but I'll wait till they are secure.

What would you like to achieve on a future album - how can you top My Religion?
Ronni and I learned a lot from this one and we both feel we know what to do to make an even better album next time.

What are you currently listening to Tony?
Maria Mena from Norway, Sophia Ramos-an awesome singer from New York, and looking forward to the new Priest album!

Have I missed anything that you would like to add?
I love your site and thanks for creating it. Without your website the labels and bands would have very little in the way of a community. You created a whole world for everyone involved with melodic rock and a way to promote it better. You rock Andrew!

Thanks Tony, very kind! Thanks for taking the time to do this interview...much appreciated and once again, congratulations on a perfect record!
Thanks mate!

Hugo talks about the recording and release of his new solo album Fire In The Night and a little of the other things in his life.

G'Day Hugo, let's get straight to the new album - Fire In The Night.
Where did the title come from?
It's basically the idea of keeping that dream alive! Whatever it may be, it is a very powerful thing having a vision. Often, it's the one thing that keeps you positive and motivated. For me, it was having music. When I was growing up and I had a shitty day at school or work, I always knew that there was practice or a gig that weekend to keep me going!! It's something we all have and can never let go of!!!!!

You had better let everyone know where it will be available from and how they can pay/purchase it.....
You can get it by going to www.hugothisway.com and please specify if you would like it autographed or personalized. I will be signing all copies that leave my hands!!
It's my way of saying thanks for hanging in there while I figure out a way to get my band over to play for you!!!! And I have a feeling with these guys, that won't be a problem!!!! We love a good road trip!!!!

It's been just over 3 years since the release of the last album - at what stage did you decide now was a good time to start a new album?
Honestly Andrew, my mom had just died at the time and I was so down. Anyone reading this out there who has lost someone close knows exactly what I mean! It's an incredible journey of self-realization and rehabilitation of sorts! What's amazing is that shortly after that I met my wife, Donna. She is so supportive of my music so it wasn't very long after that she said "time for you to do what you do again, baby". Sometimes you know when it's time, sometimes you need someone to tell you it's time. She is definitely smarter than I!

And how long has the whole process been underway for?
It's coming up on a year now! It's been a little crazy with scheduling. I'm glad to be finished!

Why the delay in releasing the album? What did you spend the extra time
doing and why did you think that was important?
This album was created a little differently than any of my past work. The mixing process was basically John Mennen and myself bouncing mixes off each other. We would hear things and make suggestions to bring the mixes closer to where we wanted them to be. John has a quote "...you never really finish a mix, you abandon it...". It's pretty funny because you can mix a song for a month and end up in the same place you started. I think we achieved what we set out to. A melodic album with a contemporary, in you face production.

The album is undeniably smooth - I think a highlight of that is the layered vocals and harmonies. How do you set about recording those and making them work?
John Mennen is very particular about how he records harmonies. Many, many layers!!!!
I had these parts written out, but honestly each harmony was recorded maybe 10 or 12 times to create this texture.

You have Eddie Jelley featured as guitarist on the new album - which is being produced by John Mennen as you mentioned.
How did you team up with each of these guys - and why did they appeal to you as people you would like to work with?
Eddie has been in the NY music scene for longer then me!! We had been in different area bands at the same time but never played together. All along, mutual friends who knew us both tried to get us to play/write together but it just never happened. When I was thinking about the Evolution thing [the Journey cover band], I had gotten Eddie's phone number and got in touch with him.
He was a little freaked out that I was thinking about doing Journey stuff. After I explained that I was going crazy not singing in front of people, he agreed it could be cool. After playing live with Ed, he was the man that would play guitar on this album!!!!!
John Mennen was actually working in the studio that I was recording Time On Earth in. He engineered a lot of the tracks before leaving to start Whiteworth Digita, his production house. I was amazed at how the production moved so smoothly when John was there and how it started to fall to shit when he left!!! We kept in contact and did some demo work but when the time came for a record, he said it was something that he'd be interested in doing.

Who else is involved on the new album - and have you worked with any of them before?
Gus Carras plays guitar on it as well!! He's a great player that John has known for awhile. He played on some demo stuff that I did a while ago and blew me away!!
When John and I had the idea for 2 guitar players, we looked at each other and were like "Guuuusssss".
Gerard Zappa - my great friend from Valentine played some bass as well as Joe Cumia and Lance Millard from Evolution. My brother Chuck played drums on this one. He taught me how to play 30 yrs ago so it's been a long time coming for that one!!!

How many songs were written for the album and how many were recorded?
There were about 8 new ones that I had written in the time between concept and pre-production, including those, there were 14 recorded. "Forever In My Heart" was happily given to the MelodicRock.com CD. 11 will make it onto the record.

Did the song writing process for this album differ from other albums?
Not really for me. I have a certain way of creating when it comes to writing.
While I play and write on guitar and piano, I can play them ok so I make the chorus first and everything else usually falls into place after. I have guitar player friends that start with a riff and work it into a song. I promise, I'm not that cool!!
In terms of these songs, I basically made sure that each one had something a little special to compliment the voice or certain vocal lines!!

You have already made a few comments that the sound of the new album will be more in the vein of the more uptempo and powerful - and highly rated! - debut album. Does that mean you were unhappy with Time On Earth, or just recognize what you would prefer or what the fans want?
I'm definitely proud of Time On Earth. It was a bit of a change in terms of production and again my head was definitely down!! My mom just got sick so I wasn't in the greatest place. I do think that album has some great stuff on it. I really love "Last One More Time" and "Blues For You". I'm such a huge Journey fan that it's almost like for me Raise On Radio is great but it's not Escape. However, ROR has the song "Happy To Give" which is probably my fav Jrny song!!!
I wanted this album to have more of a guitar rockin sound, more in line with the debut album.

What steps have you worked on in the studio to get that sound?
We've done some interesting things like change mics for certain songs. We had access to NEUMANN and AKG mics so that was very cool. Also Eddie plays a Marshall and Gus went through a Boogie amp so being two very different amps, it sounds great when blended together - kind of a wall of cool guitars. We have really made an effort to keep the recording a little drier than what I am used to - less reverbs to wash things out, but better mic tone so you can hear the voice more upfront. I think it gives this album a more contemporary sound without sacrificing the integrity of the type of music - AOR/melodic!!!

Where do the songs come from - are they all new compositions - or are some a few years old and have been dusted off?
Carefully dusted off, bro! Seriously, some are older and reworked. Some are exactly as were on the demoed version and some are brand new like "Hand in Hand" and "Fire In The Night."

Why didn't you want to sign a label deal for the album?
I have been dealing with record company people for as long as I can remember.
People promising tour support, videos...you name it. From Sony on down to the little guys and you know what, it's basically the same thing.
I just want to be able to reach my fans on a personal level for a change. There are plans to make a DVD after the CD is released as well as any tour ops that come my way, God knows my band mates would love to play this stuff live!!
So yes it all costs money, but at least I won't have to hear from some dude in a suit that the label is concentrating on rap this month!!!!!
Please understand that there are some good people in the business who love melodic music, but for me right now I feel the need to reach my fans one on one!!!!

How have you found recording/producing/releasing the album yourself? Tell us about the challenges of undergoing such a huge task and the advantages and disadvantages....
The biggest advantage for me is that there is no-one telling you what and how you should be playing or looking like! Record companies are known for following trends and leading bands into places they do not want to be in!!
I experienced this with Open Skyz. We were excited to go and record another Valentine album and keep that energy. Some asshole in a suit thought otherwise!! While I am proud of the album, I really think we'd have done better on our own. Melodic rock has become the underground scene at this point!! There are not many record stores keeping this stuff in stock so it seems that you have to reach the people who want it! It is a very challenging time for record companies and artists as well. By selling this disc online, I will be able to correspond with anyone who wants to check it out. It really makes things personal for the first time and that's the best part for me!!!

How about the album artwork - who is doing that for you?
I've had a couple of things on the table. I did some incredible photos on wild locations with photographer Andrew Blatz. Ron Smith is a graphic artist who will probably handle the artwork-we are finalizing all of it now!!!!

Any plans to tour as a solo artist on the back of this album?
Andrew, I think we need to put together the MelodicRock tour package - I would love to support this album - play some old Valentine stuff - solo stuff, special guests.
I just want this album done and then we can try to put some dates out there and see if the interest is there!!

Let's take a look at some other things you are involved in - namely the Journey cover band Evolution. What prompted you to start that?
I hadn't been singing as much as I needed to be and I knew that I would be recording soon enough. I just thought that it would be good idea for me to condition my voice, get back in front of people and have fun with good friends. Some people criticized me for doing it because I have music out there on an international level (I guess that must mean I can't have fun anymore)??!!
I never really cared how big or small it became, it's just that I could sing the stuff and the band sounds great and there are no egos! And finally, we are all such big Journey fans, why not? Besides, it beats the hell out of seeing me do Michael Jackson covers!!? Right?

And the reaction has been superb - any plans to take the band outside the local NY area for gigs? Or even overseas?
Well, I'm not to sure about that!. We'd love to play as much as possible and have gone into other states over here -and the response has been wild!!! People go nuts sometimes when they see and hear us - it's pretty funny!!
But we all have a lot going on with life and started this up to have a great time and blow people away - I think we've done that and are happy the way things are.

Do you still plan to do that live DVD release?
I think right now it's really important to have a great record and support that as best possible. I want to follow up with a DVD of some of these songs or a live gig with this stuff, some older stuff!!!!

Any plans to record with Street Talk again? Your 2 tracks on their last album were very well received.
I just spoke with Fred 2 days ago. He's doing great and gearing up for the next Street Talk. We talked about co-writing again and possibly singing a couple of tunes as well -He's a great guy and an incredible talent - I would do that again!!!!

How did you hook up with Frederik in the first place?
Fred had gotten in touch with me and sent me the first Street Talk album. I really loved it and learned the tunes. I thought "I'd love to sing this stuff" - real melodic songs. Fred is pretty good with a computer too. He sent me tracks to sing and write. It worked out quite well!
I would have loved to have Fred play on this one but the distance played a big part - I keep telling him to move to N.Y. but he's just not listening!!

Back a few years now - looking back - what's the best moments on Time On Earth?
I played some drums and acoustic guitar - it was fun to do it and hear it come together. It's cool because we would set up to record one night and if no-one was available to play drums for instance, I would get back there and jam. It was a lot of fun!!

There were a couple of great ballads on that album - and a couple of fine pop songs too.
Thanks man! There were a couple that I really loved too!!

How about your debut solo album - did you enjoy working with Gary Hughes and the guys?
Gary is one of the most talented and greatest guys I've ever worked with!!
Every day was an event at the studio but he made it look so easy!! The guys in the band as well just banged it out as though they had known the stuff for ages. I enjoyed working with the guys very much.

Any chance - future talk here - that you might work with them again?
It's difficult to say. From the first day of production, Gary and I were on the same page - hearing the Ten stuff was enough for me to realize what he could make. We even talked about taking part in Gary's recent Once And Future King rock opera.
Unfortunately, I wasn't sure if Gary was still affiliated with the same record person and didn't want to go backwards!!
We are very far apart but I would love to work with him again

Favourites from that album?
I love "Walk away" and "A Tear in LA" - there are some really good ones on that CD!!!!

Back again - right to the start this time - Valentine. The album is another that is still highly regarded and remains the heaviest album you recorded. What went wrong - why wasn't the band massive?
We had gotten signed to Columbia records - in between then and finishing, Producer Neil Kernon hurt his back really bad and that put us back about 6 months. During that time, Warrant (who was on Columbia) just exploded and after that the suits decided enough long haired rock bands!!
We ended up on a shit label called Giant records with no support, no balls and that was it!!

Do you hear from any of the guys in the band still?
All of the time - we just had a barbeque last week at soundman Vinnys place - surf and turf, unbelievable!!! We all live in N.Y. except old drummer Neil, he's down in FL with his family and doing well.

The band recorded a second - softer - album, which was released on a new label under the Open Skyz name. Why the name change - what prompted that decision?
That was the record company!
We were on RCA and some suit decides that the name is kinda old!!!
Yeah, except we had a shitload of people who knew us and knew we rocked! So you have this record contract from a major company waving in front of you - maybe the thing to do is deal with outside writers, name changes…etc - we were really at a crossroad!! Scary!!

Were there any other recordings after that?
Nothing after that!!!

I am wondering what you did during the period 1993-1997?
I gave singing lessons and a lot of thinking…

Outside music, you run a very busy company - a family business is it not? Can you tell us about that?
It's a business that my father started years ago - when I was younger, he was good enough to let me search for whatever it was that I needed to do! After a while, it was clear that music alone would be a very difficult road to travel. It's a Long Island based service providing business. I eventually bought the business from him and it's doing well!!

Is it possible in 2004 for a melodic rock artist to make a living off melodic rock, or is it just too small a scene to do so?
I don't think so really! I do believe that if you love it and it's in your blood - then you just do it!! Something that always kept me going and I've always said it, "if it was that easy, everybody would be a rockstar".

What's your take on the music business today?
I see labels closing and it blows me away - the whole boy band thing freaks me out and I've always thought that rap just sucked!!
It is a blessing in disguise that we are in these times - it's unfortunate that it takes such extreme to finally level it all out!!!!!

How do you see the music trend evolving in general over the next 5 years?
I would have to guess that things just have to get more melodic-bring in the good singers!!! We need a new Boston or a Bon Jovi to break the scene wide open again - I'd love to be part of something like that!!!

Is there anything else you would like to do in music that you haven't yet?
Whenever I've had an album released, people would always write and say that they've used "You'll Always Have Me" or "The Answer" as a wedding song - that is a great feeling. I'm good with things at this point!!

And what's next after this album for Hugo? Anything that you have a definite plan for yet?
Not yet, I just wanna enjoy this one for awhile. I'd love to record some of my favourite song with acoustic guitar/vocals only - sort of an unplugged favourites CD!!
Or maybe live with the guys!!

Anything you would like to add Hugo?
I'm just happy to be able to do it all again - to the old fans, it is once again my pleasure to play for you - I know you will dig it!!
For new ones, thanks for checking in and I hope to get to play live for you - till then, I will definitely get something together for a DVD/video.

Thanks for your time mate.
Talk to ya soon!

Shiva's duo of Mats and Anette talk about their new harder rocking release and life as Sweden's Shiva.


Hi guys, Congratulations on the new album. It's a slightly heavier affair than the debut - what thoughts did you have in mind when starting to write and record this new album?
Mats: Thanks a lot! We wanted to do a heavier album than “SHIVA”, but still very melodic. It felt more exciting to do something different on Desert Dreams comparing to our debut and it felt naturally in a way to take this step.
Anette: Yes, it s a little bit heavier and harder than the first album but it s still very melodic and, in fact, Desert Dreams has more ballads than the first so it has a soft side as well.

I think the album is partly in the style of the debut and partly heavier, and little more contemporary. Are there are any bands that have influenced your style in this manner?
Mats: I listen to all kinds of music, everything from hard rock, heavy- , trash- metal to classic- and pop-music and I can t particularly mention new bands that I m influenced by. But I know that my old influences still means a lot to me.

There is only two of you, yet the sound is very full. How do you arrange things in the studio to ensure the full band sound?
Mats: well, on “Desert Dreams” I play all the instruments myself except Losing my Child were Niclas Olson plays the piano. I always have an idea how it should sound before recording, so the instrument part takes very little time that includes the guitar-solo too. We mostly lay down our time to get the right feeling on the vocals and of course the in the mix-down process, that s what means most in the end.

Do you think fans of the debut will accept the heavier sound and have you had much feedback from them yet?
Mats: Some of the old fans have reacted a little negative to our heavier sound at first, but after a several listening they become more positive. Especially when the have understand the lyrics. There are always people that don't want changes from a band but we must follow our heart, otherwise it becomes boring, so the album.

You had a two album deal with Z Records - what prompted the move to MTM Music?
Mats: Well, we didn't want to be in that messy sinking ship. And we understood very early that this label didn't work professional. In fact we haven't seen a single penny from that stinking label (shame on you!) Oh yes, we did get 25 copies of SHIVA s.t. that was more than generous! So you can imagine how much this has cost us.

And how have you found working with your new label?
Mats: They work very professional and they are very easy to work with. No problem there, thank God! I've been in contact with Mario at MTM since one month after signing with Z Records 2002. We have also got paid by our new label :-), we aren't use to that (ehh..)

There are a lot of great Swedish bands out there - do you hang out with or are good friends with any in particular?
Mats; The only one I can think of is my very dear friend Niclas Olsson (Alyson Avenue). It was thanks to him we began play again after many years of silence. Then of course I had help from Tommy Dennader and Tony (Seven Wishes) when we left Z Records, so we stay in touch.

Who do you take advice from when working on a new record?
Mats: Until now we have done what feels right for us. We can t make an album asking people around or people telling us what to play. First of all it must be fun and by heart. Both Anette and I have day-time works and families and that little time that s left we want to enjoy doing music. And I think you can hear at both SHIVA-s.t and Desert Dreams that we have fun doing it. The main thing for us is not to make the most beautiful melodies and harmonies. A good song for us is when you can feel a lot of passion hearing it.

I admire the lyrical depth of some of your tunes - they have a clear message and are very passionate. Who writes the music and the lyrics and where does the lyrical inspiration come from?
Anette: I m very glad to hear that you think so. We have come to realize how important a lyric is to a song and we want to get better in that. Mats usually come up with an idea, a theme, when he works with a song. Sometimes he has a chorus or a verse finished when we meet to try out new ideas and sometimes just keywords. From that we discuss what kind of feeling or sense we want for the song and then I usually finish the lyric at home. I think we have a good teamwork around the lyrics and we are getting better at it. The inspiration comes from life it selves.

Do you get the opportunity to play live at all and if so, who rounds out the band on stage?
Anette: No, not yet anyway. We have a couple of old friends that could help us out if that would be in question.
Mats: As I said before we've been delayed for some reasons (the Z Record thing), maybe up to 1,5 year. All this has cost both money and energy but we hope to be able to play live as soon we have the chance. If this all goes well, we would love to go on tour at least play at festivals. We have talk to some musicians who are willing to help us out. The only name I can give you at this moment is Niclas Olsson (Alyson Avenue) on keyboard.

What bands influenced you as young musicians and to get started in the very first place?
Anette: to be honest, I can t remember who influenced me to be a singer because I was only 5 years old when I decided that..:0). The bands I grew up with were Saxon, Halloween, Queensryche, Whitesnake and TNT just to mention a few. But I also liked Whitney Houston, Billy Idol, Aretha Franklin and of course my favourite - Freddie Mercury! I have always liked different kind of music styles but hardrock was and still is the greatest.
Mats: It's pretty much the same as Anette but to mention some others, Thin Lizzy, Gary Moore, Iron Maiden, Black Sabbath, Motörhead, but also Abba, Beatles, Queen and many more.

And what are your favourite albums of all time and currently?
Anette: My favourite album must be Metallica the black album. I haven't found anyone who can match up to that one.
Mats: The black one

So what comes next for Shiva in 2004?
Anette: we will soon try out some ideas and begin working with album No 3. And of course continuing promoting Desert Dreams through interviews etc.

How do you envision the next album sounding like?
Mats: we begin were we ended. That means like the first 5 song on Desert Dreams but you never know! We will improve the songs, production, sounds and work a lot with the lyrics. And maybe I'll practice on the guitar before recording it. :-)

Anything you would like to add?
Mats: Many things have been said about Desert Dreams and we have got many new fans. But for the ones, who don t like the heavier stuff, listen to the lyrics! Enjoy!
Please visit our site http://www.shivahardrock.com (done by our dear friend Fred Monster, God bless you!). If you have some comments please sign our guestbook or forum.

Many thanks for taking the time to do this interview!
Mats: Thank you!
Anette: Thank you! for taking the time, and giving us an opportunity to speak our minds. We want to thank our fans out there for believing in us. We love you!