2004

Tue

Feb

House Of Lords (2004)

Artist:

House Of Lords

Categories:

Interviews

House Of Lords: A new decade, a new sound.

The new House Of Lords album has a lot of people talking. Everyone has an opinion on this record, especially two of the people behind the record - bassist Chuck Wright and vocalist James Christian. Here is what they had to say about the recording and release of The Power & The Myth! Both interviews make for an interesting read.

CHUCK WRIGHT

Hey Chuck, thanks for your time.
First off, let me say that I know your web site is probably the most read melodic rock site on the net - congrats on helping to keep the genre alive…ok now the questions.

The House Of Lords album is done....and it's about to be released. Did you think it would ever happen at some stages over the last year or two?
There were a couple points when we almost threw in the towel. In the beginning, we had to deal with the name usage problem which was a major hurdle. We had serious logistical issues having everyone spread all over the country, coast to coast, and scheduling problems to deal with not to mention a tug of war with the label over material and we had a problem for 6 months with funding. You also have to keep in mind, we are and were all very active in our own endeavors to make a living. Then Gregg bailed on us and the label basically took the record out of our hands. We almost called it a day at that point but there was way too much blood, sweat, tears and years put into to getting this record made so we carried on, dealt with the situation and made the best of it.
Believe, dream, will...and put it in the hands of God. That's my motto.

Let's take it right back to the mid-90's. The band entertained thoughts of a re-union then also. I believe you even had an album title and a Japanese deal. How far did you get before it fell apart?
After James, Lanny and I performed in England for the Gods Festival in 1995 we had a firm deal offer but Gene Simmons basically killed that one by wanting 90% of the deal. We recorded 3 songs on “The Power And The Myth” from that period of time.

You have always kept a close relationship with Lanny Cordola - working together on various projects. In 2000 the wheels began to turn again. What led to this moment?
Yes, Lanny is my best friend and we've covered a lot of musical territory together over the years. James is actually the reason this (original members) House Of Lords reunion came to be a reality. Frontiers contacted him, James called me, I called Ken and Lanny, Ken had been in touch with Gregg , he said yeah, and then we were off to making plans for this record.

So what were the first steps taken to get things rolling again?
We discussed the music we wanted to do stylistically and starting in on the writing process.
We were eager to cross new boundaries and I think we did to a degree. We had tightened reins on us throughout the making of the record however. All in all I do feel that this record stands up to others in the genre and has some amazing performances on it.

Why has it taken over 2 years for those recordings to be finalized?
Under normal circumstances after the songs are chosen and we're all in the same place at the same time, it would take 6 to 8 weeks to record and mix a record. Our debut only took 30 days top to bottom.

James Christian has been living away happily in Florida – did you have any first hand contact with him during the recording process?
Well, if first hand means discussing the music, exchanging ideas and sending
music back and forth, then yes.

Given the constraints of working with 2004 budgets - Is there any way the entire band could have recorded together?
Not really. Nowadays you're lucky to get 10% of the budgets bands had in the 80's and people out there still expect the records to measure up sonically. We did the best we could under the circumstances.

The band has always had Gregg Giuffria involved from the outset, how was it different this time around?
He was involved from the outset, he was supposed to be working on his own anyway and then hook up with us. He agreed to participate but unfortunately 6 weeks or so before completion, as we were still awaiting any ideas, keyboard parts, anything whatsoever from Gregg, he signed a solo deal with our label (Frontiers) and said , “now that I have my own deal, I'm not doing this House Of Lords record”.
He didn't seem that into it anyway since he didn't partake in the new compositions. He did have plenty of opportunity to contribute however - over two years should be enough time to come up with a song idea I would think. After this, the label said our deal was now diminished by what they still owed us because Gregg was not on it so we had to finish the record asap and now being under budgeted, not being able to complete it the way we originally intended. We wanted to add some bigger chorus sections on a
few songs and spend more than one day on finishing the keyboards and a couple days finishing the rest of the guitar overdubs. We were also planning on mixing at a state of the art studio.

Were you disappointed that Gregg chose not to be involved in the end and at the last minute?
Yes, I was shocked, disappointed, stressed and really surprised that our label would cut a side deal with a band member before we had completed our record. Not a very wise move on their part but they don't know Gregg like we do. I would've suggested they wait. We actually recorded a song called “Havana” because Gregg was a writer on it just to involve him more.
We didn't have to do this. The label didn't even want the song but we pushed for it on his behalf. (The song now appears as a bonus track for Japan.)

How many songs were written for the album and how did you come to decide on this final 10 track line-up?
We wrote a lot of new material, actually over 30 songs. We actually covered Bjorks song “Army Of Me” and a ballad from a band called The Young Bloods from the late sixties called “Darkness, Darkness”, but of course our label would have none of that. There was a style and sound we were known for so we had to try and stay within those guide lines to a degree or we would have our material rejected by the label. We found this out in the early goings.

There's a noticeable style change in the band - what were the intentions of the band going into this record?
We tried to make a record that would sound the way we would if we stayed together for the past decade. We are hoping our fans have have grown with us and will listen to the record without expectations. It has been 12 years afterall. Personally, I can't write a song like “Looking For Strange” and take myself seriously at this point in my life experience.

House Of Lords have never recorded the same album twice - there's always been a twist in your tunes. But in this case, why such a move away from the sounds of the past?
Umm...12 years, a lot of growth, having open minds...and again, if we were able to finish the record the way we wanted to you might feel a bit differently so, you have to look at it for what it is, not for what you wanted it to be or what it could've been.

I understand your points on this - but to add mine in - I think fans are going to miss the big choruses and the big harmonies you are have always been famous for - style aside. Any comments on that?
Well, you should do some research because our two most successful songs,
”Can't Find My Way Home” and “Love Don't Lie” do not have harmony vocals
on them at all.

You know the scene in which we all work - does it frustrate you that some don't want any progression in the music at all?
I work in many scenes, in many genres and have always grown as a musician and listener. It's too bad that some people can't enjoy music for what it is, an art form, a hopefully free expression, not a cookie cutter, gotta sound like this band or that band or I'm not even going to give it a chance sound.

Let's talk about the performances. Those of you, Lanny and Ken I think are a definite highlight of the album. How have you three grown as musicians?
We are always nurturing our talents working on one music project or another. We were also able to work directly with each other and fed off of the energy in the studio together which I think comes across big time on this record.

And how did you apply yourself and the more intense and complex arrangements to this recording process?
The same way I always try to do...groove with it and feel it . It was easy really when you work with musicians at this level.

We know Derek Sherinain is a class player - how did you get him involved after Gregg's departure?
Derek's been a friend of mine for a few years. I did the art work for a couple of his CD packages and have seen him live with his band Planet X and with Dream Theater. He was the perfect guy to step on....I mean into Gregg's shoes. Unfortunately Derek had to leave on tour so we only got him on the title track...I bet Gregg's mouth will be on the floor when he hears Derek's solo!!

And Sven Martin and Allan Okuye - how are these guys known to you?
Sven is a friend here in L.A. but he's from Germany. He plays with the band Tattoo and is a writer on the songs “Today” and “Man Who I Am”. It made perfect sense to bring him in on those tracks since he was so close to them. He's an awesome orchestrator. I never met Alan until the day I worked with him in the studio. The guy the label hired to take over the record brought him in. He did a good job under the circumstances of only
having hours to create parts for many songs.

No producer attached to this record - were you happy to handle it yourselves?
Lanny, Ken, James and I have all been producing records over the last decade so it made sense. I just really wish we would've been able to see it through and finish it the way we wanted to. It does sound damn good but we had some bigger plans for it.

I think the album is very well produced - nice and evenly mixed. But I do recall some instrumental basics you played me in LA had a little more life in them than the finished product. What do you think?
We didn't master it so that could be the difference. That was done in
Italy by the label.

I've already talked to you and James about the vocals on the album. I think James is a little flat - what do you think and could things have been done any better?
I'm not sure what you mean by flat. He is on pitch so if you mean dryer than our other records.. I agree, that's how it was mixed.

Where does House Of Lords go from here Chuck?
We're currently discussing doing a live DVD or possibly releasing footage from the sessions with some acoustic versions of some of our older material. I'd love to get out there and play live again with this band. We'll see how the record is received by the fans. If it goes as we'd expect it to we'll decide at that time if we can to do a tour.

Besides HOL, you are a busy guy...you recently toured with Alice Cooper - what was that like?
What can I say...The 5 month, 17 country tour I did with Alice was so fulfilling. A great band, great crowds and seeing places like Moscow, Paris, London and Barcelona, who could ask for more. I felt very blessed to have been a part of it.

What else have you been working on mate?
Besides doing all these interviews daily for this HOL release???? Is there time???? lol!
I have a new production company that is involved in a new music driven movie project and we're shopping some music projects overseas.
I've been working with a good friend of mine who's an amazing singer /song writer named David Victor. We've been developing material for a new project. Currently, I'm
working on a web site for bassist Jerry Best (Courtney Love, Lion, Dio) which will be up and on the net soon at www.jerrybest.com, and I've begun work on a CD package for radio personality "The Radio-Chick" out of New York City.
Matt Sorum (from Guns & Roses, The Cult and now in Velvet Revolver) has a solo release called "Hollywood Zen" that I played bass on, created the art work and layout for which is now available through his web site at www.mattsorum.com and will soon be at
retail.
I played bass on a couple of songs last year for a singer/songwriter out of Italy named Chris Catena, that just came out on Frontiers Records. Bruce Kulick and Eric Singer of Kiss fame join me on these tracks.
Prior to leaving last fall for the Vanilla Fudge tour , I recorded the bass tracks for French Warner Brothers recording artist Audrey Forrest . She has some amazing material and a very fine voice. Ken's drumming on this one as well. That should be out soon. I just finished a rock rap project called "The Good, The Bad and The Heavy" with Lanny and Pat Torpey. We covered a lot of classic rockers like "The Immigrant Song", "Back In Black", "Paranoid", "Hey Joe" and more with a couple original pieces thrown in for good measure. Rappers from Cypress Hill, Crazy Town and other notables do their take on the tracks.
Everyone should check out Mr. Big's / Influences & Connections that I worked on with Lanny. It's a very unique project in which Mr. Big classic songs have been revisited featuring all star vocalists and guest musicians. The guys in Mr. Big are on it too.

The new CD features Artwork by yourself - and you have done many other packages including my very own CD release Revealed & Revisited - many thanks to you again for that. When did you get started on graphic arts and how did it expand into doing album covers?
You are welcome Andrew...I was always drawing on anything when I was a
child, my desk, the wall etc. I discovered the art programs available on computers about 9 years ago and the sky was the limit. It's been a great way of creative expression for me when I'm not out on the road or in the studio recording. Because of my many music contacts it was a natural step to get into doing CD art work. Oh... how I wish we still had that 10 inch square cover from the old days to work with. In creating the art work for the HOL cover and most of the package, I tried to keep the integrity and feel from our debut and Sahara intact. That's also part of why I came up with the title “The Power And The Myth”, it has a Lordly feel to it.

Have we missed anything Chuck? Anything you would like to add?
We all hope the rock fans out there will judge this record from a clean slate and not thinking of it as a follow up to “Sahara”. Just set aside their expectations and enjoy it for what it is. A musical adventure with thought provoking lyrics and kick ass
musicianship!

Thanks again for doing the interview. I know you were pissed with my review of the album as were the label, but you remain a cool guy. Cheers.
You are welcome.

JAMES CHRSTIAN

So James, thanks for talking to me. This is a tough interview for me, as I have the utmost respect for you as a writer and performer, but I must confess to being disappointed in the vocals on the House Of Lords album.
Let's go straight to that if you don't mind. In my review, I said I was disappointed and felt that the vocals were too laid back and not as powerful as your solo album and past HOL albums.
How were the vocals recorded for this album?
The vocals for this CD were recorded no differently than any other CD I have done in the past. I used an AKG Microphone which I love and put very little EQ and compression as I like to add that in the Mix. This particular set of songs were a bit of a challenge to sing as they were in much lower keys than I am accustomed to singing in. However the approach that Lanny & Chuck took to writing the songs displayed some very creative moments and I really liked what they were going for. I knew when I heard the tracks that the vocal approach would end up being very different from what most people were used to hearing.

You recorded all of them at your studio in Florida didn't you?
Yes I recorded all the vocals in my home studio which is a Pro-Tools set-up.

Is that an ideal situation?
It is a perfect situation for me as I like to work alone. In the majority of everything I have done, there were few people involved. I sing best when I can do a few tracks, then listen and live with what I have done. I always know what I am looking to accomplish with a vocal.

Did you miss the "band in the studio" environment?
"Band in a studio" is always inspiring when you are laying down tracks, But when the time comes for the Lead Vocal to be done, I like having just bare bones without all the overdubs so that I can have room to experiment.

What form of the tracks were you given to work with and how did you piece it together?
I was given rough mixes of everything on two tracks. Then i would lay out Five open tracks and then take the best of each of those tracks.

Recording process aside, did you approach this album differently than past albums?
The approach is always the same. I like using the same compression and Mikes that I have used in the past. I like to sing in the evening and I like to sing NAKED! (Only Kidding)

And are you personally happy with the results?
I always wish I had done something a little different on a every record I have done, but for the most part, I was happy. This record was not written to produce 5 hit singles and there are no "Commercial Songs" on the CD. The bombastic choruses are not always there but in its place are some very moving and thought provoking moments.
You just have to get past the fact that it sounds different than a typical HOL CD.
My voice is not pushed to the limit on most of the songs because quite frankly, they were more musical pieces than vocal pieces, I did not have a problem with that concept.
We all would do things differently if we had the chance. I try not to look back and keep my focus on the future.

Can you tell us of what involvement you had in the songwriting process for the tracks of The Power & The Myth?
The only song that I contributed was "Living In Silence". I had no idea it was being recorded until Lanny told me. The rest of the material is from Chuck, Lanny and a few other writers. I would have loved to contribute more.

A House Of Lords re-union has been a difficult thing to get done. What was the reasons behind the failed attempt in the mid-late 90's and why did it work out this time?
I think the Mid 90's was too soon for another HOL CD. Music has changed dramatically in the 90's and today there is little left of that type of sound. However with websites like MelodicRock keeping the style alive it seems more appropriate to get together and do a new CD now.

This album was complicated enough, but do you see another House Of Lords album in your or the other guy's plans?
God willing, if there is an opportunity for us to record again, we will.

What else have you been up to James? You have a busy job I know, can you tell us about MRA Associates and your job with them?
I own a Medical Recruiting Firm. My company finds Doctors for Hospitals, Medical Groups and Private Practices. My business allows me to do all the things that matter in my life such as, continuing to write and record songs and spend time with my family.

I hear you are working on a new solo album - can you tell us any of the details behind that and the possible style it might be in? It's been a long while also since Rude Awakening!
Yes I am currently working on the solo CD. The style is very much in the style of Rude Awakening. There are some songs I recorded for Judith & Robin Randall that I always wanted to put on CD and there is also a bonus track of a song I did with Lanny called "Mad Moon Fall" It is one of my favorite vocal performances. I just connected with the lyric and did the lead vocal in one take. So far I am loving it.

I have to ask after Robin...when is her album going to come out?
I remember talking to you a couple of years ago when you and her were working on it and then mid-late last year there was a press release about it and a preview and album and single cover to view - but still no sign of it. When's it going to be available and how?
Robin was just on a show in Germany called Hit Giganten, She was great! Her new single is scheduled to be released in March with the full CD to follow. I produced 8 tracks and had a great time doing it. The single is called "What Is Me".
She has the best female rock voice I have ever heard. I do not say this simply because she is my wife, but because I had the opportunity the sit behind a console and hear let loose. Her range and power are limitless.

Do you have much contact with any other rocks from the "old days" down there in Florida?
I still keep in touch with my music buddies. Most of them come down here for vacations. I live in West Palm Beach which is a resort part of Florida. This is an incredible lifestyle.

How is Mark Baker? Are you still writing and working with him? It's been a while since I heard his name mentioned!
Mark is doing fine. He is working on an Internet project. It has to do with music but I am not exactly sure what it is. I have not written with him in a while.

Anything else going on that you would like to talk about or comment on James?
I would like to say to you that I respect your opinion regarding your comments about this CD. You have always been a major supporter of our music and we appreciate that. I can take criticism as long as it comes from knowledgeable people. Although I totally enjoy listening to this CD.

I still think you are one of the great rock vocalists of all time - do you have a favourite piece of work or song from your vast catalogue of work?
Yes I do. Actually "Child Of Rage" is one of my favorite performances as well as "Can't Find My Way Home & "Remember My Name"

There remain a lot of unreleased James Christian music/demos in circulation from over the years - is there any chance some of that might still see the light of day?
Yes you might hear a few on the new CD.

Thanks for your time James and take care for now.
Take care Andrew, it was a pleasure.

TRACK BY TRACK OVER THE POWER & THE MYTH....by Chuck Wright

1. Today
After having several of our new songs rejected by our label (Frontiers) for failing to follow their strict guidelines of that “80’s corporate rock” required sound, we submitted this outside written song. There was something about the chorus that reminded me of material from out debut. This song was not intended to be the opener of the album but apparently the label president felt it represented the signature HOL sound best. I guess he didn’t want to confuse people too much. This resequencing of the songs was a BIG disappointment for us.

2. All Is Gone
This is a new song that Lanny, Pat Torpey and I put together. We used a an old Jethro Tull type harmony part for the bass and guitar riff. It has an interesting mid eastern influenced middle section. A straight ahead mid tempo rocker. Like a lot of the other material we came up with, Ken finished this song with us in the studio.

3. Am I The Only One
this one is a bit newer. Lanny had the ideas for this a few years ago. A ballad in 6/8 time. A moody track with East Indian guitar influences. There’s an outstanding, beautifully melodic guitar solo from Lanny. One of my favorites, every note counts on this one.

4. Living In Silence
This song was written by James in the mid 90’s but we changed the verse from it’s original speaking/rap style to a melody. A bit of a modern style mixed into the melodic structure with rockin’ heavier guitar riffs, and a lot of big drums ala the song “Sahara” The middle section of the song really gets outside. A good one for head phones.

.5. The Power And The Myth
This song was originally intended to start the record. It’s a short instrumental filled with majestic melodies that brings back memories of our debut, especially the amazing keyboards which are performed by Derek Sherinian (formerly of Dream Theater) coupled with a tasty Jeff Beck style melody from Lanny. I came up with the music for this in England while on tour with Alice Cooper in late 2002.

6. The Rapture
Originally written for the mid 90’s HOL release which didn’t happen. Lanny plays a lot of unusual exotic instruments like the Bazouki, Balalaika and Turkish Banjo so we tapped into that. This instrumentation was integral to getting across the musical landscape and mood of the lyrics. There’s some amazing violin playing by Charlie Bissoret (from Bob Dylans band) . All the instrumentation is real, no samples Sitar, Cello, and ethnic percussion.

7. The Man Who I Am
Another new outside song discovered with the song “Today”. Famed rock singer and James Christian’s wife, Robin Beck, shares the bridge with James on this one. This is probably our most commercial song on the record.

8. Bitter Sweet Euphoria
This song opens with an assault of slammin’ drumming from Ken Mary. It is little darker than you ‘d expect from us but has a really strong melodic chorus that brings to mind The Beatles meets Led Zepplin.

9. Mind Trip
This is a new one that has a seventies retro vibe ala Deep Purple’s “Machine Head” days. It's very raw and we really get to show off our chops.

10. Child Of Rage
This was written in the early 90’s and we kept some of the performances from those sessions. By far one of James Christians best vocal performances ever. A powerfully massive melodic ballad. It has an almost Gospel feel. A nice closer for the album.

Tags:

2004

House Of Lords

Tue

Feb

Bowes & Morley (2004)

Artist:

Bowes & Morley

Categories:

Interviews

Bowes & Morley: Moving Swiftly Along for a second classy album.

The always interesting Danny Bowes talks about the music behind the new B&M album and what's in the pipeline for 2004.

G'Day Danny....a few interview questions for you regarding the new Bowes & Morley album! This is the second B&M album for you two - what was the plan going into recording this one? More of the same, or something even a little further different?
[DB] We did the last LP all in one studio, but for this one we decided to spread ourselves around a bit. This gave us some nice perspective changes which we find helps a lot when you're zoned in on a set of songs. Apart from that the introduction of covers was different this time. The idea was suggested by a good friend at our label in Japan, and it eased the songwriting burden for Luke. Some covers were pre-planned but some happened in the studio. The band was different too, so I guess you could say most aspects of this record were different from the first one.

To me it sounds like more of the same - fun, good time, feel good blues and soul influenced pop/rock. Is that where your heart lies, or do you have an equal love for heavier things?
[DB] You're right in as much as B&M is a vehicle for us to play around a bit with musical styles, but we're aware that it always has to stack up as a piece of music. We can't escape from the fact that we have our own styles of playing, singing and writing, and they all come from our influences growing up. We are not introspective people, you only have to spend 2 minutes with us to know that, so the uplifting fun songs come out naturally because of who we are. I like that fact that we can move around with B&M, and provided we get the thumbs up from the buying public through sales, we'll continue to do so.

I found myself happier to enjoy this record as I had my Thunder fix from last year's album. How did you feel recording this with that in mind?
[DB] I think this is a good point. When we made Moving Swiftly Along, there was no plan to reform Thunder, and when it was released the Shooting At The Sun LP was not recorded, so I'm sure some fans thought it would not happen. I must confess I had no intention of making another Thunder record when we made MSA, but fate is strange, and things change, so now SATS is out there to show Thunder is back, and I hope Bowes & Morley will be accepted as a family member rather than a replacement. I see no reason why the two cannot peacefully co-exist.

It seems your vocals flow effortlessly - is that how it is or do you have to work hard to keep your voice in shape?
[DB] I open my mouth and it comes out, it's as simple as that. It hurts sometimes as I can sing twice as loudly as is good for my health, but it's not something I can do anything about. It's a big help having Luke writing the songs for me to sing. We've known each other a long time and worked together for almost all of that time, so there's a working practice that's very well established and we both like it.

Luke's an amazing songwriter - does he ever surprise you with some of the songs he comes to you with?
[DB] Yes, all the time. This is amazing when you consider he's been chucking songs at me for over 25 years.

Do you have a say in the material you work on, whether it would be better for Thunder or Bowes/Morley?
[DB] Luke writes the songs and is the music man. I am nuts and bolts and money, oh and singing. We agree on almost all issues (this is why we're still good friends and work mates). I trust him to write the songs in the appropriate vein for the band (whether it be B&M or Thunder), and he knows once he has I'll sing it the way he wants it done, not because he will tell me how he wants it done, he doesn't have to. His writing and my voice have evolved together, side by side. This is where the working practice comes in from the last question. It's not a situation you could manufacture, it's just happened over many years.

How about the cover tunes on the new album - why those ones in particular?
[DB] We played Living For The City when we did live shows in 2002 for MSA. I love Stevie Wonder, he's my all time favourite artist, and to be fair I didn't really care which song it was, I love them all, but this one works for the whole band, both live and recorded. Come Together In The Morning was Luke's choice, he loves the tune, as do I, and it fits the vibe of the whole LP. I think the band are fantastic on that song, and the girls doing the soulful backing vox really make it fab. Why Did You Do It was suggested by Mark Taylor, the keyboard player, during a jam. We pieced it together from the bits we knew and found later it was close to the original recording by Stretch. To my knowledge it has never been covered before, but having sung the last verse I know why! Not looking forward to that one when we play live... I Can't Stand The Rain is a classic, and it has been done a lot, but we decided to give it a Little Feat type approach (LF were also one of my big loves as a kid), and once again it was a jam. It's loose as hell, but I love it.

You and Thunder have covered a few artists over the years. What other artists/songs would you like to cover given the chance?
[DB] That's a secret. I could tell you but I'd have to kill you afterwards.

The Thunder Online machine seems to be really cranking along...live releases, DVDs, online sales of these albums...has it been a blessing in disguise for you guys?
[DB] Not a blessing in disguise, just a blessing. We made a conscious decision when we got back together that we would do it ourselves and use all the tools available. I run this thing like an army camp. It's hard work, but it's beginning to show good results.

Is it far more liberating for you to be free of record label constraints?
[DB] Absolutely. I have moments when things are not going well, when I think it would be nice to have it back the way it was, but it only lasts a second and then reality bites. Not having vast resources means we're limited in what we can do some of the time, and that's frustrating, but at least we decide on the course of action and make it happen.

Are you happy with the responses from the last Thunder album? It really was a return to the classic sound. What next for this year's Thunder album?
[DB] I'm extremely pleased, both with the LP and the way it's been received. It's still selling across the world, almost a year after it was released, so our efforts are definitely paying off. As for the next LP, I cannot say. Luke is locked in the studio writing away as I type (well I hope he is, he said he would be), like me, you'll have to wait and see, but obviously I'll know before you...

And as you are always busy, I had better ask what else you are working on and what is planned next for Thunder and Danny Bowes?
[DB] The Live At The Bedford Arms CD is about to be sent out to the people who were at our 2 Christmas shows. They bought tickets that included a live CD and they'll receive them soon. It will be available to buy for those who weren't there, exclusively via Thunder Shop on our website (www.thunderonline.com) as of March 15th. The Christmas shows were filmed for inclusion in a DVD, and that is in progress. Hopefully we'll have that ready before the summer. B&M have UK shows in June, Thunder are set to play shows at various times throughout the year (again info on the site), and hopefully we'll have the new LP out in the autumn, and we'll do it all again...
All news as always will be on our website.

Anything you would like to add?
[DB] Buy Mo's Barbeque, and play it very loud. It'll make you feel good and upset your neighbour's. What better reasons do you need?!

Thanks again for taking some time out to do this interview. It's always fun talking!
[DB] Pleasure…

Tags:

2004

Bowes & Morley

Tue

Feb

McQueen Street (2004)

Artist:

McQueen Street

Categories:

Interviews

McQueen Street: 2nd Time Around.

McQueen Street was another classic American hard rock act that was swept aside by the grunge revolution. But thanks to persistent fans, good music and the Internet - they're back! I talked to frontman Derek Welsh about the road to their second CD release.

Derek, great to see a new release from the band on the market. A lot of classic hard rock bands are utilizing the Internet to reconnect with old fans and make available music and merchandise that they otherwise would have a chance in releasing.
At what point did you decide this was a good idea and how did you get started?
I've been thinking about doing this for a very long time. Actually I've been involved with the Internet and music promotion since the mid 90s. There's no doubt that the Internet is a great vehicle for music.

To someone who hasn't heard of the band - can you describe your sound and attitude - this is your chance to sell yourself :)
Hard driving, in your face, no frills hard rock.

How did the band get started? What are the origins of the band when you first hit the scene?
We got our start in Montgomery, Alabama in the late 80s. For 3 years or so we played every rock club in the Southeast and probably stayed in every flea infested hotel along the way. We played to packed houses and we played to handfuls of drunks that probably have no recollection that we were ever there. We played 5-7 nights a week. It didn't matter where we were, we were on a mission and we rocked as hard as we could.

You signed to a major for your debut - were you happy with the way that was released and marketed?
I was very happy with the actual recording of the record. I really liked working with the producer Tom Werman and the engineers Eddie Delena and Neal Avron. However, I wasn't happy at all with some of the marketing ideas. I was VERY opposed to the album cover with the woman and the truck. I remember the day one of the marketing guys showed it to me. He asked me what I thought and I told him I hated it. It became pretty heated and it pretty much came down to what I consider to be “the my way or the highway” scenario.
Like a lot of artists, we had to give up some creative control in order to get our music out there. It just wasn't a very accurate depiction of what the music or band was all about.
I think they really tried to tie us in with that whole sex, chics and partying thing. I'm not sure what the hell they were thinking. The first three singles were My Religion, In Heaven and Time. Not a very cohesive marketing plan in my opinion. Sorry, about the rambling. I could write an entire book on the subject!

Were there any specific areas or promises that were not fulfilled by the label?
Sure, lots of them. I don't want to get off on a negative rant about the whole thing but there were more things non-fulfilled than were fulfilled. I'll spare everyone the boring list.

Any great or favourite memories of the months surrounding the release of the debut album?
Sure. I have lots of great memories around this time. When the My Religion video aired on MTV was a great moment. One that really sticks out in my memory is when we were flying in to Los Angeles - I had my headphones on when we were landing and heard McQueen Street on the radio for the first time. I think it was on KNAC and we were headed to do a big show with bands like Alice In Chains, Armored Saint, Bang Tango and a bunch of other really good bands at Sammy Hagar's place in Cabo Wabo.

So what went wrong for the band?
Things that were out of our control. It was the day that music died. As all rockers know, when Teen Spirit hit the airwaves the industry changed dramatically. Anything that looked or sounded remotely like hard rock or metal instantly became taboo. When MTV and mainstream radio refused to play all of the artists in our genre we were all doomed. There was no Internet to save the day. The bands were screwed. The fans were screwed. The band moral was depleted and so were our funds. We simply had to move on.

Tell us of the frustrations of life in 1993....
We all had the rug pulled right out from under us. Personally I was at an all time low and I had to make a decision as to whether I wanted to sink or swim.

When you split, what did you and the other guys move on to do? It's been quite some time since we heard from you all!!
I had always been into different styles of music but hard rock was and still is my passion. I decided to start writing and performing in a different vein of music. I spoke to our bass player Richard and told him I wanted to do a new project. We formed the band The Rat Race which was more of a classic, folky, trippy, sounding band. It was about as far off from McQueen Street as you can get. The Rat Race was not heavy in the McQueen Street sense. No screaming vocals, no shredding guitars. The only heaviness would be in the lyrics and the actual playing. I just wanted to move in a completely different direction. I kind of a had to bury the entire hard rock persona just to keep my own sanity. I worked for a long time writing and promoting Strange Dreams, my book of poetry and ramblings.

And was it anything specific that got you fired-up to release the second album?
It seemed that McQueen Street just wouldn't go away. We would hear about different tracks being used for commercials, sporting events, etc. As the Internet came more into play, rock was able to start resurfacing. It's my philosophy that rock fans and rock musicians never went away. With the Internet, things have been able to resurface again. When the singer from Puddle Of Mudd decided to wear a McQueen Street shirt in the She Hates Me video my phone started ringing. I'd always thought about calling the other guys at some point but my wife really pushed me to do it.

Tell us about the songs from the album - when were they written and recorded etc?
Many of the songs were written in at a beach house in Florida that I rented. I pretty much camped out for a few weeks, had no phone, a TV that had 3 channels and all of my recording gear. I didn't talk to anyone for weeks and just sort of immersed myself in the whole process. We recorded them at various times and places.

Any favourites from the tracks included?
Like most people, I have different favorites for different moods. As an aggressive rocker I'd have to say World Machine. I really like performing that one live. On the mellow/dark end of things probably The Last Breath or What About Jane.

Are there any other McQueen Street recordings that have yet to see the light of day?
I'm currently writing some new material and there are quite a few songs that we've recorded that we may be releasing in the very near future.
If all goes well we may have another CD out within the year. We're also considering adding an option on our Website where you can purchase and download individual tracks. If we get that into place it will be sooner rather than later.

What are the rest of the guys doing right now? Are there plans for a new set of recordings, a few live shows or anything else?
Everyone is busy doing the day to day things we all do. We've all got our hands in the McQueen Street thing and are definitely going to be doing some live shows, recording and appearances. We're currently working on some large rock festivals in the US and Europe.

Where in the US are you located and is there any rock scene left in that area?
We all live in different states in the South. Tennessee, Florida, Georgia, Alabama. I m not sure there s an entire scene anywhere but there are some clubs that are popping up again.

What's next for Derek and McQueen Street?
Live shows, new songs and I'm nearing completion on a new book of poetry.

Are there any other bands out there you still admire - who you think are doing a great job and are there any you think should retire already? :)
I saw Cinderella a few years ago in Nashville and they are still an amazing band. One of the best live shows I've ever seen. AC/DC is still kicking hard. Sebastian Bach is one of my favorite rock singers. Some of the newer bands and artists I really like are Audioslave, Puddle of Mudd, Kid Rock and Sevendust.

And what are you currently listening to or what CDs have you recently purchased?
I listen to a pretty wide range of stuff. In my car I've got The Doors, Audioslave, UPO, Steve Earle, Sevendust, Guns N Roses, Sheryl Crow, The Rat Race, and oh yeah, McQueen Street 1 & 2. I got a really good deal on those last 2 so occasionally I feel obligated to listen to those. :-)
In my house I mainly listen to Baby Einstein and Bob The Builder discs. Our 19 month old says they really rock so I go along with it.

Anything you would like to add?
I just want to thank all of the rock and metal fans out there that continue to show their support for us and all of the other bands in our genre of music. I truly am grateful for all of the emails and letters that people have written to us. Most of all I d like to let the people know who continue to buy and play our music how much we really appreciate it.

Thanks again for doing the interview.
Thank you it was my pleasure! You've got a great Web site and it helps keep the music alive.

Tags:

2004

McQueen Street

Tue

Feb

Chris Catena (2004)

Artist:

Chris Catena

Categories:

Interviews

Chris Catena: A stellar line-up for a stellar debut.

Chris Catena pays tribute to the music of his life - classic hard rock - but not only that, many musicians he has admired over the years have come along for the ride. What a star packed debut! I talk with Chris about the album, it's songs and how it works for him being an independent artist.

Hi Chris, Your debut album Freak Out is available now, but we need to do some work on letting folks know who you are.
First of all, how did you get started as a musician?
I AM SON OF A GREAT ITALIAN TENOR. I HAVE GROWN UP WITH THE MUSIC IN MY FEEDING BOTTLE!

I HAVE ALWAYS BEEN IN LOVE WITH MUSIC SO I STARTED FOLLOWING MY FATHER IN HIS TOUR IN THE VARIOUS OPERA HOUSES AND SINCE THE BEGINNING I WAS ATTRACTED BY THIS GLITTERING WORLD.
THEN MY SISTER MANUELA AND MY BROTHER GIANNI, OLDER THAN ME, INITIATED ME INTO THE LISTENING OF ROCK MUSIC. MY SISTER WAS IN LOVE WITH DIFFERENT KINDA MUSIC SUCH AS THE POP HITS AS WELL AS THE ROCK HITS OF THE TIME, THE GLAM OF SWEET, SLADE, T REX, DAVID BOWIE.
MY BROTHER WAS A GREAT LISTENER OF SOLID ROCK SUCH AS DEEP PURPLE, GRAND FUNK, LED ZEPPELIN, URIAH HEEP, BAD COMPANY, B.O.C BUT EVEN PROG, FOLK, PUNK AND OTHER STUFF SUCH AS GENESIS, KING CRIMSON, WOLF, CURVED AIR, KRAFTWERK, GONG, RAMONES, GEN X, DAMNED, SEX PISTOLS, TELEPHONE, KLAUS SCHULTZE, VAN DER GRAFAND OTHER STUFF.
I HAVE BEEN LUCKY TO HAVE SOMEONE TO GUIDE ME INTO THIS MUSIC WORLD, THE REAL AND GOOD ONE, KEEPING ME FAR FROM BEING SWEPT AWAY BY THE SHIT COMING OUT FROM THE MARKET OF THAT TIME....MY BROTHER WAS READING A LOT OF BOOKS ABOUT ROCK HISTORY AND MY SISTER A RADIO SPEAKER AT THAT TIME. THEY WERE DEVELOPING A VERY GOOD MUSIC CULTURE.
SO I GROWN UP PROUD OF MY FATHER'S OPERATIC WORLD BUT IN THE SAME TIME I STARTED BEING INTERESTED EVEN IN THE ROCK STUFF.

What were your personal influences in your youth and have they changed today?
MY RANGE OF ACTION INTO THE MUSIC WORLD HAS ALWAYS BEEN LIKE A RAINBOW. DIFFERENT COLOURS TO MAKE ONE AND UNIQUE THING AND AS EVERY COLOUR TONE DOWN IN ANOTHER ONE, SO EVERY DIFFERENT KINDA MUSIC TONE DOWN INTO ANOTHER, CREATING A BASIC AND IMPORTANT CONNECTION TO REACH THE GENERAL PERFECTION OF THIS MUSICAL RAINBOW.
IN MY COMPOSITION PROCESS I ALWAYS TRY TO CREATE SUCH CONNECTIONS, I ALWAYS TRY TO CREATE A CROSS OVER AMONG THE VARIOUS SORTS OF MUSIC. SO I CANNOT LIVE WITHOUT LISTENING TO OPERA BUT IN THE SAME TIME ROCK IN HIS DIFFERENT FORMS...FROM HEAVY TO PSICHEDELIC...GIVE ME THE GO FOR A BRAND NEW DAY...WHILE THE FOLK OR JAZZ AS WELL AS THE FUNK CAN COLOUR THE MOOD OF A PARTICULAR MOMENT.
ANYWAY ROCK OF THE SIXTIES, SEVENTIES, AND EIGHTIES IS MY FAVOURITE! THE MUSIC OF TODAY CAN DEVELOP THANKS TO ITS ROOTS. ONLY THROUGH ITS ROOTS MUSIC CAN MAKE ITS STREAMS STRONGER.

For those that have not yet heard your music - how would you describe it?
A MIX OF HEAVY, FUNK, BLUES AND SOUL. ....THE SWEET AND SOUR....I CALL IT FREAK 'N' ROLL.!! ;-)
IT CAN BE GOOD TO LISTEN TO IT DRIVING IN THE TRAFFIC AS WELL AS DRIVING ON A HIGHWAY OR SIMPLY GOOD FOR A COOL HEAD BANGING IN YOUR ROOM WITH YOUR FAVOURITE RACKET AS GUITAR..... ANYWAY I THINK IT'S A GOOD WAY TO SHAKE YOUR BOOTY. HAHAHA

This is your debut album - have you been a part of any other albums or bands in the past?
I HAVE RECORDED A SELF PRODUCED EP WITH MY PREVIOUS ITALIAN BAND "Dr. U" , AN ITALIAN PROJECT INFLUENCED BY THE MUSIC OF PEARL JAM, SOUNDGARDEN, STONE TEMPLE PILOT. IN THE LATE EIGHTIES I SIGNED A DEAL FOR RECORDING THE ALBUM OF MY FIRST BAND, "SILVERZ CAT", A CLASS METAL PROJECT. ONCE WE GAVE THE MASTER TO THE LABEL, IT CLOSED FOR BANKRUPTCY AND WE LOST THE DEAL AND THE MASTER!

How long did Freak Out take to write and record?
MANY SONGS HAS BEN WRITTEN DURING THESE LAST TEN YEARS, SO MENTALLY WE CAN SAY THE ALBUM HAS BEEN PARTLY CONCEIVED DURING THE NINETIES BUT I STARTED TO RECORD IT ON 2001.

You have chosen an interesting path - signing a distribution deal for the album and releasing it yourself, rather than signing it over to a record label completely. Why did you chose this route?
SIMPLY BECAUSE BAD EXPERIENCES OF THE PAST CAN LEAVE REAL DEEP SCARS ON YOUR SKIN AND THESE SCARS STILL HURT.
I WANTED TO PRODUCE A MASTER I COULD HAVE BEEN THE OWNER OF, WITHOUT LICENSING IT EVERYWHERE.
I HAD THE RIGHTS TO USE IT ACCORDING TO MY OWN DECISIONS. I PREFERRED TO KEEP THE CONTROL ON THIS CD. SO I GAVE IT IN DISTRIBUTION TO FRONTIERS FOR VARIOUS PLACES BUT MY PRODUCTION COMPANY IMR, KEEP THE ROLE OF LABEL. THIS IS REALLY IMPORTANT FOR ME PSYCHOLOGICALLY. I FEEL MYSELF AND MY WORK MORE PROTECTED EVEN IF, OF COURSE, THE EXPENSES ARE BIGGER AND THE RESPONSIBILITIES MUCH MORE.

I compliment you on the album and especially how many great guest artists you have featured on the album. How did you go about getting those that are featured, involved in the album?
THANK YOU FOR THE COMPLIMENTS. THE INVOLVEMENT STARTED GRADUALLY. I WAS RAPPED BY THESE DIFFERENT PROJECTS OF TRIBUTE BOB KULICK WAS PRODUCING AND IN MY MIND WAS GROWING THE WILL TO CREATE A PROJECT LIKE THIS BUT WITH MY OWN SONGS!!!
I GOT IN TOUCH WITH PETER KNORN (VICTORY BASSIST) WHO WAS MANAGING AT THAT TIME GLENN HUGHES. ...HE WAS REALLY KIND TO INTRODUCE ME TO THE VOICE OF ROCK...THE REST WAS SIMPLE. HE LIKED MY VOICE AND ACCEPTED TO RECORD A DUET WITH ME.
MY SELF ESTEEM GROWN UP AND I WENT ON TRYING TO GET IN TOUCH WITH MY FAVOURITE MUSICIANS. FEW OF THEM ACCEPTED, OTHER WERE STILL AFRAID TO FACE AN "UNPROFESSIONAL ITALIAN MUSICIAN" IN HIS CRAZY ADVENTURE.....AND QUIT FROM A POSSIBLE COOPERATION.
I HAD TO FACE A LOT OF PREJUDICES......AH ITALIANO, SPAGHETTI AND MANDOLINO...NO HE CANNOT DO A GOOD METAL ALBUM SO WHY TO BE INVOLVED???

Let's talk about some of the guests and maybe you could comment on how you worked with each artist and how their contributions were recorded.
Glenn Hughes - lead vocals on Freak Out Tonight - HIS VOICE IS AN INSTRUMENT IN HIS HANDS. HE CAN DO WHATEVER HE LIKES WITH IT. SIMPLY A GREAT PERFORMER.

Jeff Scott Soto - lead vocals on What You Gonna Do When Your Love Is Gone - NICE AND FAST. PROFESSIONAL AND EASY TO WORK WITH. HE CAN ADAPT HIS VOICE TO ANY KIND OF SONG. YOU WANT METAL, HERE WE GO, YOU WANT FUNK, I GIVE YOU THE FUNK !

Kelly Simonz - guitars - I MET HIM IN ANCONA, ITALY. HE WAS SUPPORTING THE HUGHES AND TURNER PROJECT TOUR WITH HIS BAND. I WAS SIMPLY SWEPT AWAY BY HIS INCREDIBLE GUITAR PLAYING. WOW. I WANTED TO SPEAK WITH HIM ASKING FOR TO PLAY ON MY ALBUM AND HE AGREED. HE GAVE A REAL BRILLIANT PERFORMANCE.

Stevie Salas - guitars - STEVIE IS SIMPLY GREAT. HE HAS THE GROOVE!!!! I THINK HE IS A JIMI HENDRIX OF OUR TIME .

Bernie Marsden and Micky Moody - guitars - I SHARED A VERY COLD END OF AUGUST WITH BERNIE HERE IN ROME. HE CAME WITH HIS ORANGE LES PAUL, THE ONE HE USED TO RECORD "READY AND WILLING". I WAS SOOOO EXCITED TO HAVE HIM IN THE STUDIO AND WHEN HE STARTED THE RIFF OF SWEET TALKER I PUT ON MY KNEES IN REVERENCE. HE HAS THE MELODY IN HIS HANDS AND COLOUR ANY SONG WITH EASY BUT INTENSE CHORDS.
MOODY IS A REAL MAESTRO OF THE SLIDE AND I HAVE WRITTEN THE INTRO OF "FOLLOW ME THINKING TO HIM"

Tony Franklin - bass - A FRIEND, A REAL GOOD MAN AND A GREAT PROFESSIONIST. A PERFECTIONIST...ZEALOUS.

John Taylor - bass (the Duran John Taylor??) - YES, OF COURSE, THE BASS PLAYER OF DURAN DURAN. I HAVE ALWAYS BEEN IN LOVE WITH THIS BAND AND IT IS A GREAT HONOUR TO HAVE HIM ON MY ALBUM. ANOTHER GUY EASY TO WORK WITH.

Virgil Donati - drums - I WAS REALLY EXCITED TO HAVE THE MONSTER OF THE SKINS, ONE OF THE BEST DRUMMER IN THE WORLD PLAYING THE SIMPLE FUNK OF "GETTIN' TIGHTER". IT HAS BEN AN EXPERIMENT FOR ME. FOR ONCE HE HAD NOT TO PLAY A PROG METAL PIECE FULL OF BREAKS, STOP AND GO, DIFFICULT PASSAGES .

Tommy Aldridge - drums - SIMPLY ONE OF MY FAVOURITE DRUMMER OF EVER

Chuck Wright - bass - ANOTHER GOOD FRIEND OF MINE WITH A GREAT SOUND !

Bruce Kulick - guitars - HE HAS BEEN THE LEAD GUITAR OF MY FAVOURITE BAND OF EVER, KISS!!! WHAT TO SAY MORE ? A DREAM CAME TRUE

John Lawton - vocals - A GREAT PERFORMER ! A SIMPLE MAN AND AN UNDERRATED ARTIST. HE IS REALLY IN A STATE OF GRACE ACTUALLY. I STARTED TO LOVE HIS VOICE LOOKING AT THE FILM OF BUTTERFLY BALLS WHERE HIS PERFORMANCE IS SIMPLY SUPERB.

I CANNOT FORGET THE CONTRIBUTION OF DOUG WIMBISH FROM LIVING COLOURS, AL KOOPER YOU CAN HEAR PLAYING THE PIANO IN SONGS LIKE "YOU CAN ALWAYS GET WHAT YOU WANT" FROM ROLLING STONES, OR THE ORGAN IN "LIKE A ROLLING STONE" FROM BOB DYLAN OR IN THE JIMI HENDRIX EXPERIENCE ALBUMS TO NAME A FEW, THEN ERIC SINGER FROM KISS AND ALICE COOPER, MYRON DOVE FROM SANTANA AND MENIKETTI, DAVE MENIKETTI, STEVE FERRONE, MARKO PAVIC, VIVIEN LALU, DANIEL FLORES, VITALIJ KUPRIJ AND MANY OTHERS PLUS MY ITALIAN MUSICIANS WHO GAVE A REAL MATURE PROOF OF PROFESSIONALITY SUCH AS YURI ROVERI, DAVIDE SPURIO, MAX SPURIO, ALEKS FERRARA, MARCO CAPASSO, PAOLO PATRIZI, MAURO MUNZI....AND MY SOUND ENGINEER, MR RENE' UBACKS.

What an honor to have such a line up!
A REAL HONOUR.

How hard is it to act as your own producer?
IT HAS BEEN A PLEASURE 'CAUSE I HAD THE CHANCE TO MAKE MY OWN CHOICES AND ARRANGE THE SONGS ACCORDING TO MY IDEAS AND FEELINGS.

English is not your native tongue, but your diction and vocal pronunciation is fabulous. Where did you learn such good English?
AT SCHOOL !!! BUT I HAD TO USE IT FOR MY WORK AS MUSIC MANAGER IN THE OPERA AND CLASSIC FIELD. IT'S ABOUT 11 YEARS I AM USING ENGLISH FOR MY RELATIONSHIP WORLDWIDE. EXPERIENCE IS THE BEST SCHOOL!

How hard is it to sing/record in a language you were not born into and make it sound like you were?
FIRST OF ALL I AM PROUD OF WHAT YOU SAY!!!
IT'S REALLY AMAZING ! I AM A PERFECTIONIST AND I HAVE TRIED TO TAKE CARE A LOT TO THE PRONUNCIATION. ANYWAY ENGLISH IS THE BEST LANGUAGE FOR ROCK MUSIC. EVERY WORD KEEP A REAL MELODIC SOUND IN IT AND GIVE A SORT OF ROUNDNESS TO EVERY SINGLE NOTE AS WELL AS CREATES MORE HARMONY AMONG THE DIFFERENT PASSAGES AND MAKE 'EM EASIER. ACCORDING TO ME ENGLISH IS FOR DEFINITION THE LANGUAGE OF ROCK !!

Have you taken singing lessons at any stage in your development?
NO, BUT I HAVE OBSERVED A LOT MY FATHER AND HIS COLLEAGUES. THE WAY THEY USED THE DIAPHRAGM, THE WAY THEY COULD FIND THE POSITION, HOW THEY OPEN THE MOUTH AND TAKE THE BREATH. I DEVELOPED MY PERSONAL TECHNIQUE.

Are you happy with the final result of your album?
NO, IT COULD HAVE BEEN BETTER SIMPLY BECAUSE I AM AS MENTIONED ABOVE, A GREAT PERFECTIONIST BUT I EVEN KNOW I CANNOT SPEND 5 YEARS IN A STUDIO BEFORE RELEASING AN ALBUM. SO I HAVE DECIDED TO STOP AND TAKE IT EASY. NOW I LIKE IT MORE THAN WHEN I WAS GOING TO RELEASE IT.

Who are your favourite 5 vocalists of all time and why them?
PAUL RODGERS, DAVID COVERDALE, GLENN HUGHES, LOU GRAMM, FREDDY MERCURY…IN THE ROCK FIELD BUT I CANNOT DENY I AM REALLY IN LOVE WITH STEVIE WONDER AND GINO VANNELLI TOO.

What might you do differently on album number two?
WHAT I WILL FEEL IN THAT PRECISE MOMENT. WHO KNOWS? I AM A REAL FREAK GUY. I CAN CHANGE TOTALLY MY STATE OF MIND WHILE IN A STUDIO. SO YOU BETTER WATCH OUT GUYS 'CAUSE NEXT TIME I CAN EVEN GET OUT WITH AN OPERATIC WORK OR A FOLK ALBUM...VOICE AND GUITAR HAHAHA

I presume you are already writing and working towards another album?
MY MIND IS CONSTANTLY AT WORK. IN TRUTH I WILL RELEASE AN EP WITH OTHER SONGS PREVIOUSLY UNRELEASED AS WELL AS FEW COVERS AND A COUPLE OF VIDEO CLIPS. IT WILL BE IN THE SUMMER. PLUS I CREATED TWO DISCO VERSION OF THE SONG "FREAK OUT TONIGHT" REMIXED BY A SWEDISH COUPLE OF DJs "THE FLOWER MOUNTAININC"...YOU CAN LISTEN TO THE CLIPS ON MY WEB SITE.

Do you have any advice for new artists that are just making a start and are wondering how and who can help them?
YOU ARE LUCKY PEOPLE. WHEN I WAS A 16 YEARS OLD BOY STARTING TO SING I REALLY DID NOT HAVE ANY GOOD CHANCE TO EXPRESS MYSELF PUBLICLY. ITALY WAS A REAL BAD PLACE TO PLAY ROCK MUSIC FOR THE ITALIAN BANDS... THE CLUBS WERE JUST A FEW.
THE RECORD LABEL WERE DISORGANIZED AND ALWAYS LOOKING FOR STUPID DREAMERS TO USE TO STEAL THEIR MONEY WITH THE EXCUSE OF HELPING 'EM TO RELEASE AN ALBUM. TODAY WE HAVE INTERNET ...MANY THINGS MORE CAN BE DONE EASILY. TODAY A BAND CAN EVEN PUBLICIZE THEMSELVES THROUGH THE NET. A BAND CAN PROMOTE ITSELF THROUGH A WEB SITE AND THROUGH A SIMPLE DOWNLOAD OF A SONG ...THE IMPORTANT IS NEVER TO GIVE UP AND TO HAVE THE COURAGE TO GIVE A TRY.

Are you planning nay live dates to support the album's release and who might be featured in your band if so?
OF COURSE I AM PLANNING TO PROMOTE MY ALBUM LIVE. I AM SELECTING MUSICIANS TO DO IT...IT HAS TO BE A GREAT BAND WITH A GREAT SOUND. ...TOP SECRET!

Do you have anything you would like to add Chris?
I DID THIS RECORD FOR MYSELF. I NEVER THOUGHT TO FOLLOW THE TREND OF THIS NEW CENTURY TO SELL MORE CDS. I SIMPLY PUT MY PERSONAL LOVE FOR THE MUSICAL ROOTS WHICH STILL GUIDE AND INFLUENCE THE SCENE OF TODAY, IN MY SONGS. MY ALBUM IS A REAL TRIBUTE. SO IF YOU LIKE THE VINTAGE SOUND AND THE GENUINE APPROACH TO MUSIC, THIS ALBUM IS FOR YA!...

Now, very importantly - where can people buy your CD if they are interested?
GO IN MY WEBSITE AND WITHIN ONE WEEK YOU'LL FIND A SECTION WITH INFORMATION HOW TO BUY IT. ANYWAY THE EUROPEAN DISTRIBUTORS IS FRONTIERS. I AM DEALING WITH FEW DISTRIBUTORS FOR USA AS WELL AS A COUPLE OF DEALS FOR JAPAN. IN AUSTRALIA THE ALBUM IS DISTRIBUTED ALWAYS BY FRONTIERS THROUGH A LOCAL PARTNER AS WELL IN CANADA.

Thanks for taking the time out to answer these questions for me!
THANKS FOR THE OPPORTUNITY YOU GAVE ME. THIS SITE IS ONE OF THE BEST AND PROFESSIONAL IN THE NET!

Best of luck in the future Chris.
THANKS

Check out Chris at: www.chriscatena.com

Tags:

2004

Chris Catena

Tue

Feb

Last Autumn's Dream (2004)

Artist:

Last Autumn's Dream

Categories:

Interviews

Last Autmun's Dream: A dream come true.

Mikael Erlandsson and Andy Malecek talk about the new "supergroup" project that seesm the guys team with the trio of Ian Haugland, Mic Michaeli and John Levén from Europe. Both guys were asked a set of questions - some involving the LAD project were the same, some different, so the interviews are posted one below each other.

Mikael Erlandsson:

So Mikael, it has been a busy year for you. Your solo album and now Last Autumn's Dream. I am impressed with the album - how did the idea to form this band get started?
It started as an idea during performing my solo-songs live.. all songs we played
were more like , " hard´n´heavier " in the same time my record - company in japan
had the same idea to put a "band-feeling" into my songs, so , my management and the company and i put this dreamband together......

And where did the name come from?
The name came up as an idea from the brilliant company in Japan (the name was too good to reject) ha ha...

How long did it take to get the line-up together? I must say that I think it's a great combination. How did you meet and hook up with Andy and the boys from Europe?
A couple of seconds, they all thought that this project would be great fun. I use my management here in Sweden, and my record company in Japan to get in touch with the boys - for me it's like a dream-team...

I don't have the writers credits here, but who wrote the songs and when were they written?
"Again And Again "," Talk To Me "," The One" , "Goin´ Home" ,"Doin´ Time" and "I Never Let You Go” were written by myself and Andreasson/Wassenius .. A team in our own studio here in Gothenburg , Sunday music during last spring..."guardian angel " is a "crystal blue - song" written by Thomas Lassar .. The rest of the songs is written by the great German songwriter Rick Wrightman , excellent tunes !!!!

Where was the album recorded and how long did the process take?
In Stockholm , Berlin and Gothenburg , took about 1,5 months.

Where did the bonus track for Europe come from - was it recorded in the same sessions for the album?
Yes, at the same time.

The concept behind the music was to take your voice in a more rocking direction. How did you feel about that over the softer AOR of your solo material?
I'm use to it, because of my live performances (much harder and heavier live).

Was it fun to stretch the voice to the requirement of this album?
Of course! - I loved it!

Was the aim fulfilled? I enjoyed the couple of heavier tracks the best and would love to hear you go even further like this - are there plans for further LAD albums?
There will be a follower album, that's for sure. And it's a promise it will be more "edgy" than this one .. I have already a couple of songs.

Is there a lyrical theme or message throughout this record?
No! It's just songs... it's up to the listener to decide if there's a secret message ... he he he!!

Are there any plans to play live in support of this release, either in Japan or Europe?
Hope so - we'll see how it goes.

What are your favourite moments of the album?
When Andy have his moments - like the solo part in "Goin Home" whoooaah!!!

To anyone that has yet to hear the album, how would you describe it?
80´s rock meets 2004!!!

Tell us about your solo career - I really enjoyed the 2003 solo album - what are your current solo plans?
What can I say, I write songs almost every time I have a free spot left in my schedule... I have like 50-60 songs in my bag for the future ... he he, let's see how this LAD - project turns out to be. Keep that question open...

Do you have a favourite album from those you have recorded?
"The 1" and "The Gift" are my pearls.

How is life in Sweden as a working musician? Do you enjoy the rock music community there? It seems very strong.
It's amazing how many great talented bands and musicians we have here. I must say that I feel very blessed for having this opportunity for making albums when so many out there just earn to have a huge career....

Is there any other projects or albums you would like to make, or people you would like to work with in the future?
My dream, since I was 12 years old and heard the band ELO for the first time,
was and still are, to work with "the master of music" Mr. Jeff Lynne ..it's good to have a dream , though.

And is there anything you would like to add?
Just wanna say that I'm so thankful for doing this......
Thanks very much for taking the time out to answer these questions for me!
You're welcome!

Andy Malecek:

Hi Andy....great to hear you back on the recording scene. It's been a few years now since the demise of Fair Warning, what have you been doing between then and the start of this project?
I needed some time off. I was taken ill in 2000. And after I recovered I sort of wanted to do nothing but play the guitar, meet some friends and maybe play some gigs with bands that were very different from FAIR WARNING. You see, Helge and Ule preferred a very loud set-up for the stage when we toured. I couldn't see why it had to be that loud on stage, let alone for the PA. They would use ear plugs, I didn't. So I wanted to be in some band again for a change that played with and listened to each other much more on stage. So I joined, it might sound funny, a local Country band that played almost entirely acoustic. That was fun for a while but soon enough I started writing material again, mostly instrumental, and trying to pursue my dream of a solo album. While looking for a singer for that I was introduced to Mikael and we founded Last Autumn's Dream.

Do you miss the days of Fair Warning?
Yes and no. Back in the early nineties joining this band really was a huge step forward for me. It brought me to daylight and allowed me to share an enormous success I had never experienced before. On the other hand despite the long time we were together I only made real friends with some of the band, Tommy Heart for instance, who also lives in Berlin. Also I couldn't by far contribute to the creative process of the band as much as I wanted to. At a certain point the time had come for a new path to follow. One that is much more my own.

How did the idea to form this band get started?
Well, here I was, recording solo material all by myself when Fair Warning's last record company, Marquee Records in Japan, sort of knocked at my door wanting to know what I was up to at the moment. I sent them my solo stuff. They liked it but suggested to ally with a singer they had long signed and who had been very successful up to that point in Japan as well. That singer was Mikael Erlandsson. We exchanged demos and soon decided that we wanted to meet each other. The record company was delighted and so we met and locked ourselves away with a guitar and a piano. That's when that real “Last Autumn's Dream” feeling really was born. After I returned to Germany we kept contact over the phone and continued working.

And where did the name come from?
At first there was just this kind of melancholic air that emerged when we exchanged ideas. Strangely, we felt most comfortable with this kind of moody and mellow tone. So when the time came up to find a name, many people volunteered to suggest names that would capture this air. In the end it was Marquee again who seemed to have the best intuition and empathy for the whole thing and they suggested “Last Autumn's Dream” and we sort of said in unison “That's it!” And when you listen to the album, despite some real tough stuff like “Talk To Me” or “Break the Chains (Of Destiny) there are more moody songs and ballads on it than on any Fair Warning or Mikael Erlandsson album before.

How did you meet and hook up with Mikael and the boys from Europe?
Meeting Mikael seemed to spark an instant synergy. For me the time was ripe for a thing like this to happen. So when our demos had shaped into a semi-presentable form, Mikaels long time producer, Ulf Wahlberg, who seems to know each and everybody in the Swedish rock scene asked the Europe-guys Ian Haugland, John Leven and Mic Michaeli over and played the stuff to them. And they said: “We're on!” What more can you ask for?

I don't have the writers credits here, but who wrote the songs and when were they written?
Mikael had very melodious and catchy song ideas which only weren't arranged yet. So we decided to keep the credits where they belong, the one who had the original idea. I started working on arrangements for his songs and at the same time to work on some singable material with my producer in Berlin Rick Brightman, because there would have been an imbalance of my instrumental pieces and Mikael's songs. Out of that the very heavy guitar oriented “High Up” evolved.
When finally the set for the album was to be assembled the record company was hesitant about my instrumental pieces. So Rick, with whom I work very closely together, jumped in and provided some really cool ideas. I enjoyed working out these songs very much. Mikael liked it and so our stuff kind of coined the album to an extent as well.

Where was the album recorded and how long did the process take?
It's funny how things sometimes fall into place. Ulf Wahlberg's studio seemed to be the best place to go. He is in Stockholm. But Mikael has his own studio in Gothenburg which he specifically set up to take his time and work out the vocals in perfection. I myself felt most comfortable in Rick Brightman's studio and so we thought about a way to combine the best of three worlds (pun intended!). It required more communication between every party involved and a good deal more discipline but it worked out. Torbjörn Wassenius, Mikaels producer in Gothenburg, carefully collected the stacking layers of the songs and the first one he finished mixing was “Break the Chains”. He put it on his server, we listened to it and it blew us away!!! From then on we went even more nose to the grindstone…

The feel of the album isn't too far removed from Fair Warning, is that how
it was planned - is that your natural style?
In a sense you can't help being influenced by a band you had your mind about for such a long time. Fair Warning's music has some great moments. And in being a part of it I learned to look for these moments in the future in my own career. With Last Autumn's Dream I resumed that search and have found moments that would have never been possible with Fair Warning.

Did you have a lot of interest from European labels? How did you come to
chose Frontiers?
The Frontiers Deal went rather quick. It was basically one call from Ulf and FRONTIERS left no doubt that they wanted it and fast! For all I know FRONTIERS is the label to go to in Europe if you do Melodic Rock. Have a look at their roster, it's impressive.

Are there any plans to play live in support of this release, either in Japan or Europe?
When we hit the LP-charts in the first week in Japan we really felt quite an itch to go over there and rock some places. I have some fond memories of tours in Japan and I'd love to go back there with my own band. But we had to look at it logically. You can't really play a headlining show with one album's material. On the other hand supporting acts are generally not customary in Japan. So we decided to keep it back until after the next album which holds for Europe as well.

What are your favourite moments of the album?
Hmm, I love listening to the thing in one gulp actually. It has this round feeling that let's you enjoy each song and then look forward to the next. But ok, there is this beautiful mellow-melancolic yet immensely strong building-up ballad by Mikael “Going Home”. It's the last song on the album and it kind of sums it up really. A guitar magazine in Japan went so far as to transcribe my solo from that song which made me really proud. “Again and Again” is up to become our very own AOR hymn per se and is our no.1 radio song at the moment. It's a very catchy song which opens up the tracklist.
In between these two ends you have the broad rocking “Break the Chains (Of Destiny)” thundering through your speakers which contains some long developing solo passages which I particularly enjoyed playing. The same goes for the heavy rocking “High Up” that during the solo parts becomes also very melodious. That's the great thing about Melodic Hard Rock, see, you can combine the two worlds which can make a song so much richer as a whole. “Never let you go” is my favourite Westcoast-like tune and, well, “Blink of the Eye” is simply such a round kind of thing, that it makes me smile every time I hear it. That one is also played on the radio a lot.

To anyone that has yet to hear the album, how would you describe it?
This album combines all the colours of mid-autumn leaves. Sad, angry, overwhelmed, reminiscent, desperately lonely and deeply touched. It opens up the path to all these emotions because here they are being melted into music…

Do you have a favourite album from those you have recorded?
Apart from this one I guess it has got to be FAIR WARNING's debut album back in '93. We were all working together closely in the studio, had a great producer and everybody was inspired by the many ideas we had and our plans for the future.

Is there any other projects or albums you would like to make, or people you
would like to work with in the future?
Well, I used to have more ideas about that before I met Mikael. That encounter however showed me that some great things in life can happen seemingly by chance an unplanned. So I guess I keep on working and see what happens. However I am really glad to have found Rick Brightman as a producer and writer. He can get me back down to earth again when I'm too carried away and at the same time he surprises me with his excellent ideas ever so often. That's a rare thing too.

And is there anything you would like to add?
Ok so to all you young guitar players out there: start playing and practicing hard while you're young, 'cause you might not have so much time to do so later on!!

Thanks Andy!

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2004

Last Autumn's Dream

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Cage (2004)

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Interviews

Cage: Darker and Blacker!

Cage's Sean Peck talks about the band's quest to become bigger and better with each release.

Hi Sean...congrats on the new Cage album - it seems to be attracting some rave reviews!
There aren't too many bands doing what Cage are doing in the USA right now - it seems to be mainly European. How have you found the reaction to the band both in the USA and from Europe?
The reaction has been great because the sound has managed to appeal to a wide variety of metal fans. A lot of the journalists were telling me how their 9 year old kids loved it just like they did and were taking it to school and stuff. That has been one of the secrets of our success I believe.

Just how did Cage get started?
We had 2 bands going around 1991 called NOMAD and CRUSHER. We were all friends and both bands split about the same time. The remains of those 2 power metal bands became CAGE. We are still taking parts from those 2 bands old material and are using it in CAGE songs. WHITE MAGIC, SECRETS OF FATIMA, and others off of ASTROLOGY were some examples.

How has the band grown to the point you are at now?
Just persistence and hard work has begun to really pay off. I was just looking back at our 11 years and realizing how few bands have stood the test of time and have not broken up or been a one hit wonder. It says a lot that we have continued to climb up the ladder of heavy metal while others have broken up, reformed and done 10 different side projects since then. We still march on and continue to deliver even better songs then before.

How is the local metal scene in San Diego? How does Cage fit in?
San Diego has a really good metal scene and we are local legends here. We have of course played with every major metal band that has ever come through town like DIO, IRON MAIDEN, and JUDAS PRIEST. People here totally rock out and don't have ego trips like they do in LA.

What did you grow up listening to and did those bands influence the sound of Cage?
WASP, IRON MAIDEN, JUDAS PRIEST, CRIMSON GLORY, LIZZY BORDEN, METAL CHURCH, KING DIAMOND and others really make up what influenced me and motivated me to continue making records. OZZY OSBOURNE and the SCORPIONS and even DOKKEN really delivered to me a sound that changed my life. CAGE continues on in their honor delivering that heavy metal sound that so many seek but few truly deliver.

How about the rest of the guys in the band - can you tell us about working with them?
We have a great time playing, traveling and writing together. We keep the drama to an absolute minimum. That is a key to our longevity. We have had a few roster changes but since the new guitarist Anthony McGinnis joined it has been really fun. You can just tell by listening to the DARKER THAN BLACK CD.

The debut album was a sensational way to get started, how do you feel about that looking back now?
Of course it seems really basic now, and we have come so far since then. But it was received and hailed as a breath of fresh air to heavy metal like someone finally got it right and it really took off. There are some still brilliant songs on UNVEILED like SHOOT TO KILL, DEVIL INSIDE, DANCING AROUND THE FIRE and the title track. We were really fortunate that the fans embraced it like they did.

And how did that album influence the recording of the follow-up?
We got a new drummer, the now legendary “Mikey Niel” and it allowed us to explode musically. My singing also really exploded. I was able to increase my range and aggression, and also use different voices to create different attacks. The critics loved it and it sold well, so we moved ahead another 2 spaces on the heavy metal playing board with that one.

Did you feel a lot of pressure to better Astrology?
Yes absolutely, but we knew people would view this record as an exponential leap from UNVEILED. ASTROLOGY really was much more than people expected from us for a sophomore effort. Then when we went back to Europe and showed the world our live power and presence and it made the metal world take note.

You certainly did - Darker Than Black is a heavy, mean, metal album!
This CD is even more of a giant leap than from UNVEILED to ASTROLOGY. Now we are working on number 4!

As far as songwriting goes, how did you approach writing the songs for Darker Than Black - what was the outline you had for the album?
We wanted the vibe to be dark, sinister, malicious, and foreboding but not necessarily evil. We wanted it to look evil but deliver messages of hope, mystery, and that of heavy metal - powerful aggression emotion. We wanted to make a CD that would stand the test of time as one of the great heavy metal CDs with Screaming for Vengeance and Number of the Beast. We wanted to make a CD where there was no skipping any songs and everything ripped. We wanted to press the limits of the vocal arrangements but make songs that all had memorable hooks.

How do you go about writing the songs?
There was a combination of coming up with a chorus line and building it from there and just jamming together. We play together 4 days a week and aren't some supergroup that trades tapes across the globe. That is a reason there is such integrity in our sound and music, the fans can tell it is not just a bunch of shit thrown together. We pre-produced the entire record and kept fine tuning it and then working with Rick Carr and Roy Z was the final straw that made the cd as sick as it is!

You secured a good label deal for the album in Europe, United States / Canada, Mexico and Brazil - How did you come to choose the companies you did?
Marketing, royalty rate and commitment to the band. We are in this for the long haul and landing Massacre in Europe was cool because they totally flipped for the CD. They released the CD with a 3D cover.

And what's the plan for the US release?
It is out through Fugitive Records and they have embarked on a massive radio campaign as well as print add spree. So far so good as sales are up!

What kind of crowd shows up at Cage live shows?
We play shows where a lot of death and black metal kids show up and dig on it. That is one reason we added the black metal voices as a tribute to those fans. But young and old crowds love the songs and sound. We play all ages shows and also big 21 and up shows and everyone screams fro more. A wide demographic of rock and even non rock fans come out.

You get out and play as much as you can which is great - what can folks expect if they come along? What's the band's playlist?
Now it is mostly songs from DARKER THAN BLACK with the FINAL SOLUTION and SHOOT TO KILL thrown in. We were also playing the SAVATAGE cover DUNGEONS ARE CALLING.

What's the thing you are really looking forward to with each set of live shows?
Showing the fans how far we have come and how lethal of a metal band we are. I thing we possess elements that not many others have and that separates us from the others. I really want to do our best to steal the show at any of the festivals we are going to play. Our songs really get the crowd interacting with us and I like to always thanks the crowd and show our respect and appreciation to them and let them know we appreciate them.
We have really been concentrating on our visual presentation and stage movements. We mastered all of the backing voices and have a complex backing vocal arrangement with 4 of us singing. Now we are finishing up all of the stage movements as if it were a play or something. We are always working hard to perfect our show and get better.

There has been a line-up change or two - how have you dealt with that?
It has been always a fantastic blessing for us first with Eric Horton joining for UNVEILED and ASTROLOGY, then Mikey Niel the drummer for ASTROLOGY, and now Eric Horton leaving and being replaced by younger fresher Anthony McGinnis. I hope we are able to keep this line up forever. Dave Garcia, myself Sean Peck, and Mike Giordano have been there since the beginning.

Where do you see metal in the USA going over the next few years?
Classic metal and our style has really begun to grow in popularity just within the last 6 months. The kids are now saying that 80s metal is now the hip shit and there are videos on everyday on TV with the stuff. We have been saying for 10 years now that it was going to come back now it looks like it really is. It seems like it has taken a long time but in the grand scheme of things I guess it is not that long. We are positioned just perfect for the second coming. We hope to be playing on for another 10 years or more and someone has to carry on what the legends have created for us all.

What's next for Cage?
We are working on the new CD now after playing the Fiestas Del Sol in Mexico which was huge and the BANG YOUR HEAD USA festival in San Diego with KING DIAMOND. Now we are settling into writing mode before Spain in February 2004.

What do you have in mind for album number 4?
We have to surpass DARKER THAN BLACK somehow. So far we are off to a good start and probably have almost half of it written. There will be some experimentation like we have a RAMMSTEIN sounding song that I think I am going to do in all German, a song called KING DIAMOND that I will do the full impersonation on and some others that might be a little thrash metal sounding. I want to still provide the classic CAGE sounding heavy metal songs which we have a few in the bag now that are just legendary.

Anything you would like to add Sean?
Thanks to all of our friends around the world and we love and appreciate you all. Please e-mail us from the website and support all of the fan clubs around the world. We give them all of the inside scoop first! Also visit the official CAGE website at: www.cageheavymetal.com
All the best!

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