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 WEL COME .
READING THE LYNYRD SKYNYRD articles in this issue gave me a melancholic feeling as it bought back golden memories
of seeing this remarkable band live over the years. With last original member and guitarist Gary Rossington passing earlier
in 2023, it truly is the end of an era. But with the rest of the band, led by singer Johnny Van Zant and guitarist Rickey
Medlocke, confirming that they will continue to keep Skynyrd’s name and music alive, there’s a positive ending to the story. I
met Rickey many times when he was flying high with Blackfoot, and he’s always struck me as a musician with integrity. I was
amazed when I discovered that he was performing and functioning with just one lung. His energy and unbridled enthusiasm
gave no indication that he was physically disadvantaged. The man is a veritable human dynamo, and I can think of no one
more suited to carry on the Skynyrd legacy. And what better singer to have by his side, honouring the work of his beloved
brother Ronnie, than Johnny Van Zant? We’ve also interviewed Ronnie’s widow Judy Van Zant about their relationship and
the legacy of Skynyrd. It makes for fascinating reading, offering an insider view of the band in its ’70s pomp. We thank her
and doff our cowboy hats to the memory of Ronnie, Gary, and the other original band members.
This issue also brings you an in-depth and revealing interview by Rock Candy editor Howard Johnson with W.A.S.P.
frontman Blackie Lawless. A few months ago I saw the band live in London, some 38 years on from an unforgettable show
at the Lyceum Theatre, and it gave me the chance to see if the band could still cut the mustard. They really delivered, giving
an impressive performance that bought the entire W.A.S.P. story into focus. You should check out our George Lynch feature,
too, for an excellent summation of his life in and out of Dokken. In addition, we talk to British band FM, who initially formed
nearly 40 years ago and have released 13 studio albums of perfectly executed melodic rock. Theirs is a heart-warming tale
of believing in your music and winning the loyalty and devotion of a fan base. And there’s a revealing and extensive feature
on RATT in the issue, as well, where vocalist Stephen Pearcy and bassist Juan Croucier go deep into the recording of their
groundbreaking 1984 debut album ‘Out Of The Cellar’. But that’s not all. You can also read about the troubled life and times
of guitarist extraordinaire Ronnie Montrose, a man who gave us the incredible debut Montrose album, as well as some
superb Gamma releases, while always refusing to kow-tow to expectations and ploughing a different musical path. The
same can be said of Steve Morse, whom we also spoke with, another maverick plank spanker who’s always delivered, most
recently with Deep Purple. Steve has now admirably stepped away from the limelight to care for his ailing wife. But like all of
us he’s still in love with this music and won’t be stopping performing completely. Steve, we salute you!

Derek Oliver – Master Of Mayhem

derekoliver@rockcandymag.com

THIS ISSUE’S BIG QUESTION –

WHO’S YOUR MOST-MISSED DEPARTED ROCK FRONTMAN?

THE TEAM CONTRIBUTORS

Owner and Publisher: Derek Oliver Jason Arnopp
E-mail: editorial@rockcandymag.com Philip Parris Lynott Ronnie James Dio
Website: www.rockcandymag.com Editor: Howard Johnson Andrew Daly
‘Lonesome’ Dave Peverett Got to go Jim Morrison
Rock Candy Mag subscriptions Editor At Large: Malcolm Dome Rob Evans
Go to www.rockcandymag.com/subscriptions Art Director: Andy Hunns Freddie Mercury
Ronnie James Dio: the greatest Giles Hamilton
www.rockcandymag.com created and Production Editor: Louise Johnson Bon Scott
maintained by Ross Sampson Solutions Freddie Mercury Neil Jeffries
Creative Direction: Julia Melanie Goode Ronnie Van Zant
Printed by Printed by Sterling Press Jimi Hendrix Dave Ling
Limited, Kettering Venture Park, Kettering, Web Guy: Ross Sampson Freddie Mercury, just ahead of
Northamptonshire NN15 6XU, England. Without a shadow of a doubt… Bon Scott
Phil Lynott Dave Reynolds
Distributed by Marketforce (UK) Limited, Facebook Captain: John Nicholson Jani Lane: a friend and a vastly
121-141 Westbourne Terrace, London, Has to be Phil Lynott underrated songwriter and frontman
W2 6JR, England. Social Media Guru: Michael Brandvold Xavier Russell
Danny Joe Brown Ronnie Van Zant
Copyright: Rock Candy Magazine Ltd, 2023
No part of this magazine may be reproduced PHOTOGRAPHY
without the express consent of the owner. IconicPix; Bill O’Leary/Timeless Concert Images; Rich Galbraith
ROCK CANDY MAG ISSUE 39 CONTENTS

50 LYNYRD SKYNYRD
UPFRONT Exclusive interview

6 FROZEN IN TIME – ALICE COOPER Albums available on

Rock Candy Records
Alice is back with a new album, ‘Road’. What better way to celebrate than with this
classic image of the King Of Shock Rock?! Want to comment on anything
in Rock Candy Mag?
Email us:
8 STEP BACK IN TIME – NOVEMBER-DECEMBER 1982 Editorial@rockcandymag.com
Was it really more than 40 years ago when two former Deep Purple frontmen were
filling the pages of the rock press, with David Coverdale promoting Whitesnake’s ‘Saints And Sinners’ and Ian
Gillan’s band Gillan on its last legs? Up in Newcastle, meanwhile, a newer, faster, harder outfit called Venom was
about to change the world of extreme music. Here’s where you can read all about how the rock press reported the
news at the time…

14 MY FIRST GIG – JOHN GALLAGHER OF RAVEN

The self-styled proponent of Athletic Rock takes us back to 1973 when his young mind was blown by both Slade and
The Sensational Alex Harvey Band!

16 PERSON OF INTEREST – FABIENNE SHINE

The French Tunisian actress was Jimmy Page’s muse for a while there in the ’70s. But Fabienne Shine was also an
artist in her own right and her hard rock band Shakin’ Street is more than worthy of your attention.

18 INTRODUCING – JELUSICK
Rock’n’roll is a worldwide language and we’re delighted to bring Croatian rockers Jelusick to your attention.

FEATURES
20 DARK DAYS – FASTER PUSSYCAT
The mid-’80s Sunset Strip sleaze scene was well known for its excesses, and Faster Pussycat were right at the heart
of the action. Lead vocalist Taime Downe doesn’t hold back in discussing the many ups and downs that he and his
feline friends experienced.

26 EYEWITNESS – THE MAKING OF RATT’S ‘OUT OF THE CELLAR’

Vocalist Stephen Pearcy and bassist Juan Croucier go deep into the making of the debut RATT album that after a
slow start eventually turned the band into hair metal superstars.

34 OVERLOOKED – FM
The English band that has always ploughed its own unique furrow, producing classy rock no matter what the
trends of the time are – and always with a smile on their faces.

4
 40 BLACKIE LAWLESS OF W.A.S.P.
The frontman of one of the most outrageous metal bands of all time
proves that there’s much more to him than blood and gore in this
highly revealing and wide-ranging interview.

50 LYNYRD SKYNYRD SPECIAL

With the untimely passing of Lynyrd Skynyrd guitarist Gary Rossington
earlier this year, Rock Candy Mag believes it’s more important than ever
to celebrate this unique and legendary band. We do our bit with a
massive 18-page Skynyrd special.

52 LYNYRD SKYNYRD – JOHNNY VAN ZANT

It’s a family business for the Skynyrd frontman as he maintains the
legacy of his brother Ronnie. “I’m going to go out there and do the
best I can.” 40 W.A.S.P.
58 LYNYRD SKYNYRD – RICKEY MEDLOCKE
The drummer-turned-guitarist has now been in the band for longer
than the legendary members who first made Skynyrd great. “I feel
a connection those who’ve passed.”

64 LYNYRD SKYNYRD – JUDY VAN ZANT

Ronnie Van Zant’s widow gives a highly personal account of her life
with the much-loved frontman. “I miss him terribly.”

68 THE ROCK CANDY Q&A – STEVE MORSE

The brilliant guitarist discusses leaving Deep Purple to care for his
sick wife, and his enduring love for his instrument.

70 IAN ANDERSON OF JETHRO TULL

The prog rock major domo on all things Tull and why it’s important
to keep working.

76 INSIDE STORY – RONNIE MONTROSE

Neil Jeffries unpacks the full story of the guitar legend who can
justifiably lay claim to having paved the way for Van Halen with
his band Montrose.
70 JETHRO TULL
82 RAPID FIRE RECALL – GEORGE LYNCH
Cover page photo: Doltyn Sneddon; Cheap Trick contents page photo: Timeless Concert Images/Bill O’Leary

The Dokken and Lynch Mob guitarist on just how hard it was for him to
learn to play, why Don Dokken did his dirty work for him, and how political activism can take its toll…

PRODUCT

86 CLASSIC ALBUMS REVISITED – ‘DREAM POLICE’

BY CHEAP TRICK
“The dream police they live inside of my head.” How does the band
from Rockford’s 1979’s breakthrough album stand up to scrutiny?

88 STRIKTLY FOR KONNOISSEURS – GILLAN AND

DAVID ROBERTS
Here are two more rock’n’roll obscurities brought up from the vaults
by our experts that you’d do well to acquaint yourselves with.

90 ROCK CANDY REISSUE – NIGHT RANGER 86 CHEAP TRICK

Our incredible sister label brings you a supercharged reissue of the
San Francisco band’s much-loved 1983 melodic masterpiece ‘Midnight Madness’.

91 REVIEWS
The Rock Candy Mag team sift through the latest rock releases and give you their verdicts on product from Alice
Cooper, Coney Hatch, Status Quo, and many more.

98 CROSSWORD
Test your metal knowledge in the best way possible. Yes, it’s the world-famous Rock Candy Mag crossword!

99 SUBSCRIBE TO ROCK CANDY MAGAZINE

Make sure you never miss an issue of the best rock mag on the planet!

55
 UPFRONT FROZEN IN TIME
DATELINE: 1 OCTOBER 1991

6
Welcome to his nightmare!
ROCK’N’ROLL MUSIC HAS ALWAYS thrived on
spectacle. Whereas jazz musicians wowed their
crowds with astounding technical dexterity, rockers
always understood the value of giving the public
jaw-dropping stage shows to accompany the music.
Bigger more often than not equalled better – and
nobody has done over-the-top rock’n’roll spectacle
better than Vincent Damon Furnier, better known to
his worldwide audience as Alice Cooper.
Born on 4 February 1948 in the US Motor City of
Detroit, by the time he was 21 years old Furnier had
already morphed into his Alice persona, his band
had released a 1969 debut album, ‘Pretties For You’,
and he’d started his one-man campaign to shock
America’s moms and dads by incorporating a
chicken into his act that over-excitable fans once
ripped to shreds when the singer threw the poor bird
into the crowd.

WHILE ALICE was quick to pick up fervent fans,

the general public wasn’t quite as ready for his
outrageous brand of shock rock. It wasn’t until a third
album, 1971’s ‘Love It To Death’, that he and his band
scored a hit with the single ‘Eighteen’, which reached
number 21 on the US Billboard chart.
With wild costumes designed by top rock fashion
designer Cindy Dunaway – who also happened to
be the sister of band drummer Neal Smith and wife
of bassist Dennis Dunaway – Alice Cooper soon
became a byword for the best glam and shock rock
show in the world, which included a number of
deliberately shocking set-pieces, the most famous
of which was a ‘beheading’ of the frontman. The
music that accompanied these visuals really touched
a chord too. Under the production guidance of Bob
Ezrin, Alice enjoyed a string of hit albums in the
’70s, including ‘Killer’ and ‘Billion Dollar Babies’, and
memorable hit singles such as ‘School’s Out’ and
‘Elected’. For a while there it looked like nothing
could go wrong for Alice. At least not until alcohol
and drugs derailed him both professionally and
personally as the ’70s rolled into a new decade. Alice
recorded albums such as 1980’s ‘Flush The Fashion’
and 1981’s ‘Special Forces’ that he now says he can’t
even remember making! His audience deserted him
in droves, and it wasn’t until 1989’s ‘Trash’ and the US
Top 10 hit ‘Poison’ that Alice – long since split with his
original band – managed to climb back to the top of
the music business pile.

SINCE THEN Alice has consistently drawn large

audiences to his shows, which are still universally
recognised as some of the most spectacular out there,
and has also cemented his place as an international
rock treasure. Is there anybody out there who doesn’t
love Alice? His personal life today, however, is nothing
like the persona he portrays on stage. The wild
antics – and all the booze and drugs – are a thing of
Photo: IconicPix/George Chin

the past. Alice is still with his wife Sheryl whom he

married way back in 1976, and he’s more than little
partial to a round of golf. Who cares? With live shows
as spectacular as this photo perfectly illustrates, Alice
still fully deserves his reputation as the ultimate shock
rocker! Hats off to a true original!

HOWARD JOHNSON

7
UPFRONT STEP BACK IN TIME

NOVEMB ER- DECEM BER 1 982 RO U G H T H E B A CK PAGES OF

THE

N DY ’S DA V E LING LEAFS TH T H E DAY BACK TO

R O C K CA S IT E M S O F
R IN G THE BIG NEW
UK ROCK PRE
S S T O B
S R E A L LY P L AYED OUT…
ORIE
A N A LY S E H OW THOSE ST
LIFE AND

“WHITESNAKE WERE CRUISING ON GOLD STATUS”

DATELINE: 2-15 DECEMBER 1982
MAGAZINE: KERRANG!
WE ALL LIKE A good rock’n’roll rumour, and in 1982 – as
Bernie Marsden quit Whitesnake to form his own band,
Bernie Marsden’s SOS (soon to morph into Alaska), and
Neil Murray and Ian Paice joined Gary Moore’s group –
tongues began to wag. And wag. And wag again.
Some of the speculation was outlandish. David
Coverdale had tried to hire Jimmy Page, David Gilmour,
or Mick Ralphs as the band’s new guitarist. The singer
was joining either Bad Company or the Michael Schenker
Group. But most outrageous of all was the rumour that
Cozy Powell had claimed the drum stool from Paice.
Only keyboardist Jon Lord and guitarist Micky Moody
survived the cull.
COVERDALE INSISTED that he’d warned each band
member to up their game or face the axe. “They were
cruising along on gold status, and I’m hungry for
platinum,” he explained. David claimed he’d wanted
Galley in Whitesnake from the start and was thrilled to
finally lure him onboard, but in response to a question
Photo: IconicPix/Ray Palmer Archive

Coverdale had turned his back on rock music for good,
now considering it “a young man’s game.”
The truth wasn’t quite as exciting, but things were
moving so fast that by the time Coverdale spilled the
beans to Kerrang! man Dante Bonutto, the album
that the pair were discussing, ‘Saints & Sinners’, no
longer featured the latest Whitesnake line-up. Since its
completion, former Trapeze guitarist Mel Galley had
replaced Marsden, Colin ‘Bomber’ Hodgkinson had
taken over from Murray, and perhaps most interestingly,
about Marsden’s new band name, David retorted: “SOS?
Sink Or Slim, isn’t it? I’m feeling a hint bitter towards
Bernie.” Former Back Door member Hodgkinson,
meanwhile, used a pick to play bass, something David
had wanted all along.
Above all, there was no disguising Coverdale’s delight
at bringing in Cozy Powell. The day after Cov had
successfully jettisoned his long-time manager John
Coletta, he and Cozy celebrated with a back-packing trip
to Dartmoor out on the moors and under canvas.

8
 “This was just after album. “I wish that Ian had played on
seeing the film An ‘Saints & Sinners’ the way he plays on
American Werewolf In Gary’s ‘Corridors Of Power’ album,”
London, which is hardly he rued.
conducive to having a
tent around your a*se,” DAVID HAD no clue where the whispers
David laughed. “It was about Jimmy Page joining Whitesnake had
a bit decadent with the come from. “He’s probably p*ssing himself
booze and everything, laughing too,” he surmised. And the singer
I suppose.” was particularly keen to nix any perception
Apparently Powell that he’d auditioned for the Michael
was already planning Schenker Group at Powell’s instigation.
his solo drum spot: “It’s “I don’t audition,” he said pointedly. “The
real heroic Viking sh*t, only people I audition for are the audience.”
though I’ve threatened Coverdale had “gone for a blow” with
to upstage him by Michael to get his voice back into shape,
flying across the stage and in any case he was horrified to learn that
on wires in a blue suit the German was about to be managed by
with a red cape,” said Coletta. “No more Mickey Mouse operations,
the singer. Coverdale thank you.” Not that any offer from Schenker
also expressed would have been taken seriously.
his belief that his “Michael’s a liability,” Coverdale summed
former Deep Purple up. “The sooner he stops surrounding himself
bandmate Paice had with people who lick his a*se, the sooner he’ll
rather phoned his grow up and be the guitarist he could be,
performance in on the latest because he’s excellent.”

“It was a business decision, not

personal” would go on to become
something of a Whitesnake
catchphrase as various musicians came
and went.

SOME FANS consider ‘Saints & Sinners’

to be the last authentic Whitesnake
album, the last record to feel like it
was reaching back to blues roots. But
whether it’s authentic or not doesn’t
alter the fact that ‘Saints & Sinners’
now sounds like a good album rather
than a great one. Geffen Records’
A&R supremo John Kalodner was
soon looking after the band’s creative
direction, helping Coverdale to begin
an assault on US arenas via the band’s
next album, 1984’s ‘Slide It In’.
The Kerrang! album review of ‘Saints
& Sinners’ saw Chas De Whalley
already lamenting the fading of
Whitesnake’s soulful side, though he
did single out two tracks – ‘Here I Go
Again’ and ‘Crying In The Rain’ – for
praise. Both these songs were later re-
recorded in a more radio-friendly style
and included on the ‘1987’ album to
help with the focus on the States. De
Whalley was pretty unimpressed by the
rest of the album, though. “‘Love An’

ROCK CANDY SAYS…

WITH HINDSIGHT, THE CHANGES Coverdale made
around ‘Saints & Sinners’ showed that he could be utterly
ruthless in pursuit of his goals. And this wouldn’t be
the last time that Coverdale would change Whitesnake
personnel, particularly when he stepped up his pursuit of
success in the States in the middle of the decade.
Affection’, ‘Bloody Luxury’, and ‘Rock
An’ Roll Angels’ are almost as atrocious as the Stones or
Status Quo on a very, very bad day,” he wrote.
Dante Bonutto, too, noted that the “comings and
goings” had stemmed the band’s “creative juices”,
though Coverdale was quick to disagree. “If I didn’t think
the album was good enough, then I’d have burned the
master tapes,” he quipped, while also vowing that “the
next one will be even more powerful, that’s for sure.”

9
UPFRONT
STEP BACK IN TIME
GILLAN’S ‘MAGIC’ FADES
DATELINE: 16-29 DECEMBER 1982
MAGAZINE: KERRANG!
THE BREAK-UP OF Gillan, among the most popular and
hard-working UK hard rock bands of the early ’80s, was
a sorry affair. Formed in 1978 by erstwhile Deep Purple
man Ian Gillan when the singer got bored of playing jazz-
rock with The Ian Gillan Band, Gillan was an altogether
harder-rocking animal. The quintet became regulars on
influential British TV music show Top Of The Pops thanks
to the success of singles like ‘Trouble’, ‘New Orleans’,
‘Nightmare’, ‘Mutually Assured Destruction’, and ‘No
Laughing In Heaven’.
However, by 1982 – and with ex-White Spirit and future
Iron Maiden guitarist Janick Gers having taken the place
of Bernie Tormé for the ‘Magic’ album – it was rumoured
that the band’s finances were in a mess. A mooted
reunion of Purple’s classic Mk II line-up suddenly became
the elephant in the room.
By the time the band were approaching their biggest
headline gig, at London’s Wembley Arena on 17
10
December, everybody knew there was a problem. But it
wasn’t just behind-the-scenes issues. In Portsmouth, on
the third night of a gruelling 39-date tour in support of
‘Magic’, Gillan’s voice disintegrated onstage.
“It was the worst I’d heard it in five years of working
with him,” bass player John McCoy told Kerrang!
writer Malcolm Dome in a story entitled: ‘Gillan – is this
the end?’
In spite of doctors urgently prescribing an operation to
remove nodules on Ian’s throat and nine months of rest
Photo: IconicPix/Bertrand Alary
from singing, the band chose to ignore the advice. Ian
Gillan carried on with the tour regardless of any potential
long-term damage, in the words of McCoy, “rather than
disappoint all those people who’d bought tickets.”
GILLAN’S LIVE performances ranged from the
unlistenable to nights when, according to the bassist
“he seemed to be singing as well as ever.” The disparity
wasn’t lost on the band’s fans, who were saddened to see
such a great singer in trouble.
For the Gillan band, the experience was “thoroughly
depressing,” McCoy sighed. “It’s really sickening to see the
guy stretching himself and being in pain every night. We
don’t talk about it much among ourselves, because the
priority is just to get psyched up for the gigs. We want to
give our best.”
The situation was highly emotional. In his feature, which
he called “the most difficult I’ve ever had to write,” Dome
put forward three possible remedies to the situation. Firstly,
the instrumental players could simply “kick their heels” for
nine months. The idea of finding a replacement singer had
also been floated, and with the backing of Gillan’s record
company, Virgin, this was something that McCoy admitted
the group was actually weighing up. “I’ve a couple of
names in mind,” he said. Or failing that McCoy, Gers,
keyboardist Colin Towns, and drummer Mick Underwood
could keep things ticking over with “solo albums, session
work or even production.”
The biggest problem was that nobody knew for sure
how long Gillan’s recovery might take. And though Dome
called it “idle speculation, currently,” the idea of a Deep
Purple reformation was always floating in the air. It
wasn’t hard to reach the conclusion that by the time the
article found its way onto the shelves, Gillan had most
likely played their last gig. If so, wrote Dome, “the rock
scene is the ultimate loser.”

Sabbath in 1983. That didn’t last long,

though, and when in 1984 Gillan finally
did throw his hat in with a reformed
Deep Purple, the sympathy towards
him previously expressed by Gillan’s
former bandmates, especially McCoy
and Underwood, soured into anger and
recrimination. Some believed that their
former boss had either exaggerated his
voice problems or had used them to help
manipulate a way out of Gillan.

GILLAN WOULD later claim that by the

time of ‘Magic’, his namesake band had
already descended into “one big moan
session.” But he vehemently denied
wanting to split the group up.
“I was just knackered,” he told writer
Geoff Barton two years later. “I’d been
doing 200 shows a year for God knows
how long, and suddenly the voice had
gone. For the first time in my life I
couldn’t even croak my way through a
show. There was nothing coming out
at all. Some diabolical lies were told;
personal, nasty stuff.” 
Regardless, some people have since
claimed that certain lyrics that appeared
on the ‘Magic’ album had already
cryptically predicted the band’s demise.

ROCK CANDY SAYS…

GILLAN’S DATE AT WEMBLEY – in the company of
regular opening act Spider and special guests Wishbone
Ash – would indeed prove to be the band’s swan song.
Gillan didn’t join Deep Purple – at least not straight
away – and in a surprise move hooked up with Black
When Ian sang: “How can I be so sad? I
gave everything I had/Now that I’m free again, I’m strong
and I’m breaking chains/Here’s the dream that I’ve been
searching for/I know ’cause I’ve been here before” on
a Gillan song called ‘Breaking Chains’ (released as the
flipside of the ‘Living For The City’ single), was the
singer already predicting the end of Gillan and a return
to Purple?

11
 UPFRONT STEP BACK IN TIME
VENOM: “DON’T CALL US HEAVY METAL!”
DATELINE: 18 NOVEMBER-2 DECEMBER 1982
MAGAZINE: KERRANG!
AS VENOM’S SECOND ALBUM, ‘Black Metal’, roared
into the racks, Kerrang! dispatched Dante Bonutto to the
band’s hometown of Newcastle for a verbal duel with
the record’s creators. Spread out over four-and-a-half
pages, this was an epic conversation that dug into the
smelting of punk and metal, the band’s four-year history,
and a pyrotechnically fuelled stage
performance that some suggested could
be seen from outer space.
“We don’t do gigs, we do shows,”
announced guitarist Mantas dramatically.
“It’s f*ckin’ massive. If you stand at the
front of the stage you’ll get your head
blown off.”
“Yeah!” growled bassist and frontman
Cronos in agreement. “No one stays on
their feet at the beginning of the set. I
don’t care how big they are, they’ll duck
– and that’s a challenge. Our manager
Eric [Cook] is getting in touch with
NATO to see if he can get hold of a
hydrogen bomb.”
VENOM WERE proud of their unique
music – and its ugliness!
“There’s people who love us and
there’s people who absolutely hate us,
nothing in between,” observed Mantas.
Drummer Abaddon added: “It may be hip to like Journey
and Foreigner now, but we prefer to have 50 fans than 500
f*cking wimps. We may never have as many followers as
those two, but at least our fans will be real fans.”
“Journey are wimps, man,” confirmed Cronos.
When Bonutto pointed out that Journey had grossed
around 75 million dollars in 1982, suggesting that they
must be doing something right, it was like pulling a pin
from a grenade.
12
“Old men with guitars!” roared Abaddon angrily.
“Heavy metal should kick you in the head and make
you freak out,” Cronos agreed. “Foreigner? Wimp music,
that. In fact, we’ve decided not to call ourselves heavy
metal anymore. If people think the likes of Foreigner are
metal then we don’t want to be associated with it at all.
Our music is Power Metal, Venom Metal,
Black Metal… not heavy metal ’cos that’s
for the chicks.”
THE DEMONIC nature of Venom’s lyrics
was discussed. The band admitted that
they weren’t Satanists. It was simply that
the imagery suited their music.
“Satan is power, and Venom is power,
so we sing about Satan,” reasoned the
bassist. “We say that Satan is a man, he’s
got horns, hooves on his feet, and a little
tail, and he runs around being a reet
[very] bad lad. You get Black Sabbath
and all these w*nkers like Angel
Witch… well, we’re doing what they’re
doing but properly.”
AS FOR the future, Venom aimed for
more of the same, only bigger, louder,
and with more explosions. A third album
was already written, and plans were afoot to start their
own label, publishing company, and fan club called The
Venom Legions.
Photo: IconicPix/Pete Cronin
“There’s nothing we’d like more than to become the
biggest band in the world with loads of money,” Mantas
smiled. “Speak to us in five years’ time and we’ll still be
what you see now. Bigger ideas, obviously, and maybe a
new house and a car, things we can’t afford now.”
His gaze was drawn to Abaddon’s armpits. “Perhaps
even a bath.”
ROCK CANDY singer Tony Dolan (AKA The

SAYS… Demolition Man), but it was

always the original three-
piece that the public wanted
FOR A SHORT WHILE there, to see. In 1995 they got what
Venom had the potential to they wanted, though perhaps
become enormous. Some might unsurprisingly it didn’t take
even say that it seemed highly very long for old grudges to
likely. Let’s not forget that in resurface. By the end of the
1984, Metallica appeared as an decade, the original line-up had
opening act on Venom’s Seven fractured once more.
Dates Of Hell tour. And while the
so-called arbiters of taste were TODAY, IT’S Cronos who
dismissing the band as a joke leads the latest incarnation of
without a punchline, the trio Venom, whose most recent
headlined London’s prestigious album ‘Storm The Gates’
Hammersmith Odeon on more (featuring guitarist Rage and
than one occasion. In the end, drummer Dante) was released
though, Venom’s inter-band in 2018. Tony Dolan, meanwhile,
relationships were simply too now fronts rival act Venom
volatile to last. Inc. with Mantas playing guitar.
Abaddon appeared on Venom Inc’s 2017 album ‘Avé’ but
TWO MORE albums followed ‘Black Metal’: 1984’s ‘At War was replaced by Jeramie ‘War Machine’ Kling for 2022’s
With Satan’, and 1985’s ‘Possessed’. But in 1986 Mantas ‘There’s Only Black’.
left to form the group Mantas. Venom replaced him with In 2022, in an interview with Metal Hammer magazine,
two guitarists, Mike Hickey and Jim Clare, and in 1987 Cronos said that there was “less than zero” chance of
released a fifth album, ‘Calm Before The Storm’. But him reuniting with Mantas and Abaddon. He added,
Cronos, Hickey, and Clare soon relocated to the States, “the last thing I want to do is get onstage with those
hired a new drummer in Chris Patterson, and formed the other two doddery old f*ckers and put on a sub-par
band Cronos. Abaddon then rebuilt the Venom name performance. I’m getting better album sales now, so why
with new musicians, including ex-Atomkraft bassist and the f*ck would I want to go back to that?”

SNIPPETS – SHORT, SHARP SHOCKS FROM NOVEMBER-DECEMBER 1982

GARY MOORE: “I WAS INSPIRED BY PUNK AND NEW WAVE”
DATELINE: 4 DECEMBER 1982
MAGAZINE: SOUNDS
Promoting his new solo album ‘Corridors Of Power’, ex-Thin Lizzy guitarist Gary Moore revealed that he’d been
inspired by the punk and new wave movement. “When it came along in ’77 I was basically the same age as bands
like the Sex Pistols, so I could relate,” he said. “It definitely affected my playing. I was seeing Steve Jones hammering
his guitar to death and getting that great guitar sound of his. I went in that direction, even with the clothes I wore.”

GARY BARDEN: “I KNEW BONNET WOULDN’T BE RIGHT WITH SCHENKER”

DATELINE: 18 NOVEMBER-2 DECEMBER 1982
MAGAZINE: KERRANG!
Gary Barden spoke to Howard Johnson about his shock return to the Michael Schenker Group at the Reading
Festival, where he replaced Graham Bonnet at the last minute. “While I admire Graham tremendously as a singer, I
just knew he couldn’t be right with Michael,” Barden said, also revealing that just two hours of rehearsal took place
for Reading. Challenged over getting the name of MSG keyboardist Andy Nye completely wrong onstage, Gary
protested: “Gimme a break, I’d only met the guy once before the gig!”

RITCHIE BLACKMORE IS GETTING TIRED OF ROCK

DATELINE: 4 DECEMBER 1982
MAGAZINE: SOUNDS
Writer Garry Bushell travelled with Rainbow as they toured their sixth album, ‘Straight Between The Eyes’. With
Ritchie Blackmore’s dissolution of the band to relaunch Deep Purple still over a year away, the guitarist was already
complaining of boredom in his band. “Having played rock music for 26 years, I don’t get much enjoyment out of it
anymore,” The Man In Black told Bushell. “I refuse to play heavy just for the sake of it, like AC/DC do. At the moment
I’m lacking a lot of motivation.”

13
 UPFRONT
MY FIRST GIG DATELINE: 2 JUNE 1973,
NEWCASTLE, ENGLAND

“EVEN THOUGH this was before

punk rock, The Sensational Alex
Harvey Band gave off a really punk
attitude. The band was jarring and
in your face. Alex looked like some
demented pirate, and while no one
could say he was a great singer, he

E LY
was one of the best frontmen of all

T
time. That night he was dangerous.

L U
You didn’t know what he was going

S O ”
to do next. I remember the band

A B G !
closed their set with the song

“ I N
‘Framed’. Alex pulled out a chair,

AMA Z
turned it around and sat down. He
had a bottle of Newcastle Brown
Ale, which got a good response!
He cracked it open and smeared it
over his hair, then started to sing the
song with total passion, throwing the
chair away as it reached its climax.
Honestly, we were blown away.
Everyone in the hall was won over.

“WITH THE crowd nicely warmed

up, Slade walked on like conquering
heroes. They were masters of live
performance, and their show was
just fantastic. They never took
themselves too seriously, but
they took the music 100 per cent
seriously. I really liked that. Noddy
Holder’s voice was fantastic, and
Jim Lea was amazing. He’s an
incredible bass player, and the
way he produced these big, thick,
melodic live sounds really made an
impression on me.
“The band had these two silver
boxes on both sides of the stage
so they could stand on them and
pose. I really liked the fact that they
were into performing. But when
they played songs like ‘Take Me

Interview by Howard Johnson. Photos: IconicPix/Dalle/Christian Rose; Jay Shredder

Bak ’Ome’ you realised just how
heavy they were. The glam bands
RAVEN BASSIST AND VOCALIST JOHN GALLAGHER (ABOVE LEFT) of the time were basically playing
TAKES US BACK TO A RIP-ROARING DOUBLE WHAMMY OF A LIVE charged-up rock’n’roll with a lot
SHOW FROM SLADE AND THE SENSATIONAL ALEX HARVEY BAND more stomping and clapping to
carry it along.
“MY BROTHER MARK, OUR friend Paul Bowden, and “The show was absolutely amazing, and I’d put it up
I had all seen Slade on the TV early in 1973 and were against anything I’ve ever seen since. It was that good.
immediately hooked. I was 14 years old and the three of Six months later Mark, Paul, and I decided we were going
us bought tickets to see them when the band came to to start our band Raven, and there was always a Slade
my home town of Newcastle in June. influence in our music. I learned from them how to keep
“We were only three or four rows from the front, off to things simple, while always putting exciting little twists
the side by the PA, which looking back perhaps wasn’t into the songs to maintain people’s interest.
the best for our ears! Not that we cared, though. It was
just so exciting to be at a rock show with a bunch of “IN 1984 we were touring in the States. We were staying
like-minded people. in the famous Swingos Hotel in Cleveland and when
“We were huge Slade fans, and I already had their live I came down for breakfast, lo and behold, there were
album, ‘Slade Alive!’, which I loved. But like the rest of Noddy Holder and [Slade drummer] Don Powell. I had
the audience I had no clue who The Sensational Alex breakfast with them, and got to talk to them about my
Harvey Band were. By the end of their opening set, love of their band. They were both wonderful, absolute
though, you’d better believe that everybody in the hall gents, and I was on cloud nine for fully six months after
knew who they were! getting to spend some time with my heroes!”

14
 The ferocious new studio album
out now!
Includes the singles “RISE“, “BANSHEE“, “#REBEL“
and “other side of the rainbow“

“ALBUM10/10
OFPOWERPLAY
THE MONTH”

“A show boating and

triumphant return”
8/10 Classic Rock

“The greatest guitar solo

of the Total
21 Guitar
st
century”

UK TOUR DATES:
27.11 NEWCASTLE | 28.11 GLASGOW | 30.11 MANCHESTER
01.12 WOLVERHAMPTON | 03.12 BRISTOL | 04.12 & 19.12 LONDON

Available as: CD Digipak | 2LP Gatefold | Ltd. Transparent Red 2LP

Ltd. Marbled Red & Black 2LP | Download | Stream

www.extreme-band.com | www.ear-music.net | www.ear-music.shop | earmusicofficial | earmusicofficial | earmusic

 UPFRONT PERSON OF INTEREST
ROCK CANDY SALUTES THE MOVERS AND SHAKERS WHO DO THINGS DIFFERENTLY…

FABIENNE
SHINE
16
 YOU MIGHT WELL NEVER have heard of Fabienne Shine,
but you’ll definitely thank us for this introduction to her
life and work. She’s 79 years old now, but the French
singer who was born Fabienne Essaïagh in Tunisia back
in 1944 has never stopped making rock’n’roll music, living
the lifestyle to the full both with her band Shakin’ Street
and as a solo artist. Along the way she’s worked and hung
with some of the genre’s great guitarists including Led
Zeppelin’s Jimmy Page, The Dictators’ and Manowar’s
Ross The Boss, and Trust’s Norbert ‘Nono’ Krief, all of
whom were drawn to fabulous Fabienne’s rock’n’roll
attitude, wholehearted singing style, and authentic ‘don’t
give a f*ck’ attitude.
The jewel in the crown of Shine’s work is Shakin’ Street’s
second album, 1980’s ‘Shakin’ Street’, an obscure hard
rock classic that was produced by Blue Öyster Cult
supremo Sandy Pearlman and that’s been given the
ultimate quality seal of approval by being reissued on our
sister label Rock Candy Records.
DESPITE BEING drawn to
rock’n’roll’s outlaw spirit
as a teenager in France,
Fabienne was first noticed
by fashion photographers
and was quickly signed up
for work by a modelling
agency. Moving in fashion
circles soon brought her
to the attention of plenty
of musicians, from French
crooner Charles Aznavour
right the way through to
Jimmy Page. Fabienne was
no shrinking violet. Her 2014
French biography, Sexe,
Drogues & Rock ’N’ Roll (no
translation needed) makes
no bones about the fact that
as a young woman she took
a lot of drugs and slept with
a lot of the musicians she
admired. But she always had
a yen to make music herself
and in the 1960s moved to London to start performing
her repertoire of 10 folky numbers with a Martin acoustic
guitar “that was given to me by a lover.” But of course…
A female friend who had contacts in the buoyant 1960s
Italian film industry suggested Fabienne had the looks
required to get work there, so off she trotted and in 1967
using the name Fabienne Fabre landed roles in a number
of films including I Sovversivi (The Subversives) and Scusi,
Faciamo l’Amore (Listen, Let’s Make Love).
A CHANCE meeting with Jimmy Page in the early ’70s
Words: Howard Johnson. Photo: IconicPix/Dalle
saw Fabienne become his muse and head to the US
with rock giants Led Zeppelin, sometimes jamming with
the guitarist and singer Robert Plant. This experience
convinced Fabre – who’d now changed her surname to
Shine in recognition of a man called Philippe Shine who’d
helped keep her out of jail one time when she was trying
to smuggle hashish into India – that her destiny was to be
a rock’n’roll singer. In 1975, together with a guitarist called
Eric Levi, Shine started a band called Speedball. Signed to
CBS in France, the band soon changed its name to Shakin’
Street and released a somewhat directionless debut
album, ‘Vampire Rock’, in 1978. The record was no more
than passable, and that might have been it for Fabienne’s
rock’n’roll ambitions had she not met Sandy Pearlman at a
Blue Öyster Cult show in Paris. Pearlman really liked some
new Shakin’ Street demos that Fabienne played for him
and offered to produce two songs, ‘Solid As A Rock’ and
‘No Compromise’. Pearlman also said he’d see if he could
get the band a worldwide deal with BÖC’s label CBS.
Right about this time, Shakin’ Street guitarist Armik
Tigrane suddenly left the band after selling his guitar to
get money to buy drugs. Fortunately, Pearlman was able
to come to the rescue, inserting former Dictators guitarist
Ross ‘The Boss’ Friedman into the line-up, getting the
band signed to CBS in the States, and producing the
‘Shakin’ Street’ album. And what an album it was. From
the opening double salvo of ‘No Compromise’ and ‘Solid
As A Rock’ through to the five-minute-plus closing song ‘I
Want To Box You’, it provided a superb distillation of hard
rock riffing and punk rock attitude that was perfect for the
turn-of-the-decade times. It also coughed up a couple of
lovely ’60s-style pop songs in ‘Susie Wong’ and ‘So Fine’.
Each one of the album’s nine
songs is a gem and Fabienne’s
performance out front is both
charming and memorable in
equal measure.
SHAKIN’ STREET played
shows in Europe and the
US with Black Sabbath and
Blue Öyster Cult in 1979 and
1980, but when in 1981 Shine
moved to San Francisco to
be with her new husband, the
post-punk musician Damon
Edge, Shakin’ Street came
under strain. Ross The Boss
had decided to throw his lot
in with a new band called
Manowar and Shakin’ Street
fell apart.
Shine’s marriage to Edge
ended in 1990 and the singer
disappeared from view
until 1997’s pop rocky solo
album ‘No Mad Nomad’.
A subsequent offer for Shakin’ Street to perform at an
’80s-themed festival in Paris brought her back to the
stage with the band in 2004 in a line-up featuring both
Ross The Boss and Nono Krief.
THE BAND has since released two studio albums, 2009’s
‘21st Century Love Channel’ and 2014’s ‘Psychic’, both of
which are more than worthy of your time for such groovy
rockers as ‘Six Feet Under’ and ‘Got A Date With My
Man’. They toured in France back in 2019, but as Fabienne
herself admits, “nobody takes rock’n’roll seriously in
France anymore. And French radio doesn’t play music by
French groups singing in English.” Undeterred, Fabienne’s
most recent release, 2018’s solo effort ‘Don’t Tell Me How
To Shake It’, is yet another rock’n’roll winner that amply
shows she’s lost none of her sass and charm.
Fabienne Shine is still rocking at a ripe old age, while
also spending half the year working as a tourist guide in
California where she now lives, specialising in the region’s
national parks. Rock’n’roll is clearly still where her heart
lies, though.
“I’d go back out on tour again at the drop of a hat,” she
laughs. “Does that make me crazy? Maybe, but that’s just
who I am!”
17
00
 UPFRONT INTRODUCING...
GREAT ACTS YOU MIGHT NOT HAVE HEARD
Jelusick L-R: Luka Broderick (bass), Dino Jelusick (vocals, keyboards
and keytar), Ivan Keller (guitar), Mario Lepoglavec (drums)
DINO JELUSICK MAY WELL be a name you’re already
aware of, given that in July of 2021 David Coverdale
reached out to the 31-year-old and recruited him as
a backing vocalist and keyboardist for Whitesnake.
However, you’re most likely less familiar with his latest
hard rock act, Jelusick, a new venture that’s more than
worthy of your attention. Blessed with one of the finest
voices in rock, Croatia-born Dino has served in great
bands and sung on some of the finest records to have
emerged over the last few years. But his ascent to the
top of the world of rock has taken a long, long time.
BORN WITH the family name Jelusić in the small town
of Požega on 4 June 1992, Dino started performing at
just five years old and by 2003 had already won the
inaugural Junior Eurovision Song Contest in Copenhagen,
Denmark. He released a debut solo album, ‘No. 1’ the
following year and built himself a following both in his
home country and in Denmark.
When Jelusick reached the age of 15 in 2007, his voice
broke, which precipitated him towards a change of
stylistic approach. He’d always loved hard rock bands
such as Whitesnake, King’s X, and Dream Theater and
so opted to sing in a tougher style. The results were first
heard on a 2011 album titled ‘Living My Own Life’.
Dino began his passion project, Animal Drive, in 2012,
but progress was halted in 2014 by some debilitating
18
voice problems that necessitated surgery. By the end
of the year, though, Jelusick had returned with a self-
penned solo album, ‘Prošao Sam Sve’ (‘I Went Through
Everything’), a concept record based on a novel about a
boy surviving war in Croatia.
DINO FIRST came to mainstream attention in early
2016 when he was invited to join prestigious US
rock band Trans-Siberian Orchestra and toured with
the group towards the end of the year. Jelusick’s
priority was always Animal Drive, though, and on the
recommendation of Trans-Siberian Orchestra vocalist
Jeff Scott Soto, the band signed a deal with the Italian
label Frontiers in 2017. After finding time to contribute to
a 2017 album, ‘Enter Escape’, with Croatian metal band
The Ralph, Dino released the debut Animal Drive album,
Words: Derek Oliver. Photo: Josip Markovic
‘Bite!’, in 2018 to critical acclaim.
Dino’s next project was singing on 2019’s eponymous
album by American-Croatian group, Stone Leaders, that
also featured US drummer John Macaluso. He followed
this with an Animal Drive EP of covers, ‘Back To The
Roots’, later the same year.
The super-productive Jelusick also worked on another
Frontiers project, Dirty Shirley, with former Dokken and
Lynch Mob guitarist George Lynch, the result of which
was a 2020 eponymous album where Dino was credited
as a co-writer on all the songs.
DURING THE coronavirus
pandemic, Jelusick kept himself
busy contributing to projects by
a number of respected hard rock
musicians including Mike Portnoy,
Joel Hoekstra, Jordan Rudess,
Mandy Meyer, and Tony Franklin.
Unfortunately, though, Dino’s
relationship with Frontiers turned
sour and he found himself locked
in a legal battle with the label that
forced him to put Animal Drive
on hold. This setback meant that
David Coverdale’s 2021 call to
arms to join him in Whitesnake
couldn’t have come at a more
appropriate time.
I was lucky enough to see
Jelusick performing with
Whitesnake in London last year,
and his exceptional vocals really
made an impression on me,
making me believe that this singer
can legitimately lay claim to being
the heir to David Coverdale’s hard
rock crown.
It took more than two years for
the legal issues with Frontiers to
be resolved, and by the time it
finally happened in November of
2022, Animal Drive was no more and Dino was focusing
on a new project, Jelusick.
LOWY ALDRICH
THE ADEAD DAISIES
DECADE OF ROCK
GET THE
‘B E S T O F ’
TOURING THE EU NOV/DEC 2023
THE DEBUT album, ‘Follow The
Blind Man’ has just been released
by Escape Records, a label created
and run by Khalil Turk, a long-time
passionate supporter of classic
melodic hard rock. The record is
more than worthy of your time,
featuring an excellent production
that perfectly showcases Dino’s
outstanding vocals. The songs,
meanwhile, are about as good as
anything I’ve heard in the bluesy
hard rock arena. Go-to tracks
include ‘Animal Inside’, a song
featuring Jelusick’s rip snorting
bellow, a poignant ballad called
‘The Bitter End’, and a number,
‘Follow The Blind Man’, that can
stand up against any number of
early Whitesnake compositions.
Dino’s vocals are super
impressive throughout, but I
must also give special mention
to guitarist Ivan Keller, whose
technique and style is simply
breathtaking. His solos and fills are
Dino Jelusick: “Blessed with brilliantly executed in front of an
one of the finest voices in rock.” equally impressive rhythm section.
There’s no doubt in my mind that
if rock fans are properly exposed
to Jelusick, then there’s no reason why they won’t be a
major part of our universe in future.
CORABI TICHY DEVIN
OUT
AUG
18TH
ALBUM AVAILABLE ON
CD AND VINYL
SCAN ME
WWW.THEDEADDAISIES.COM
 FEATURE DARK DAYS
The Faster Pussycat line-up that recorded the band’s 1987 debut album. L-R: Eric Stacy (bass),
Mark Michals (drums), Taime Downe (vocals), Greg Steele (guitar), Brent Muscat (guitar)

20
 LIFE IN THE
FASTER LANE
Faster Pussycat may never have gone global like Guns N’ Roses, but in many ways they
were the living embodiment of the Sunset Strip scene of all-out excess. Hardly surprising,
then, that there were some serious lows amongst the obvious highs. Vocalist Taime Downe
talks to Andrew Daly about life between the gutter and the stars…
“FASTER PUSSYCAT IS MY band,” says the group’s stable Faster Pussycat line-up] Mark [Michals] was a
frontman Taime Downe unequivocally. “No one has the straight-up heroin addict. But it was cool at first. I’m not
right to the name or to do anything with it but me. And going to sit here and say it bothered me. It was only
anyone who thinks otherwise is f*cking wrong.” when it started to f*ck the band up that it concerned the
Formed in 1985, and recognised as one of the key rest of us.
players of the 1980s Sunset Strip, Faster Pussycat never “We were kids. I’d been going to bars and scoring sh*t
rivalled Guns N’ Roses in terms of commercial success. for years. I turned 21 at the Rainbow, but couldn’t tell
But the group’s importance to the aesthetics of that them because I’d been using a fake ID to get in for ages.
sleaze scene – a raggedy-assed look, obsession with girls If you were in the middle of that scene in your early 20s,
and dangerous partying, and a genuine all-in devil-may- running around the Strip with women and drugs around
care attitude – are undeniable. you, what would you do? It was a time when you lived to
“We were part of a posse of bands that was also get f*cked up, and you had to keep up. If you didn’t, you
friends – L.A. Guns, Guns N’ Roses, Jetboy…” remembers wouldn’t get to be a part of it. I guess we liked living on
Taime, who was born Gustave Molvik on 29 September the dark side of the street.”
1964. “All the guys in those groups were pals, and it When I point out that there was a heavy price to pay for
was a good vibe. You the hedonistic behaviour,
might think there was a the singer is nevertheless
“WE WERE TROUBLE, BUT WE ALWAYS GOT ALONG
lot of rivalry, but there forced to agree.
wasn’t. One of our first GREAT WITH ELEKTRA. WE WERE WILD, BUT WE “It was a time when
shows was opening for WERE A LABEL BAND, AND ON THE DEBUT ALBUM we thought we were
Guns at the Whisky [club invincible,” he admits.
on Sunset Strip] and if WE GAVE THEM WHAT THEY WANTED.” “That’s how it is when
anything, those guys you’re young. You think it’s
helped us get our feet in the door of the major record cool to drink gallons of alcohol and do a bunch of heroin
companies. By the time Faster got going properly, and coke. You think death won’t find you, but I lost a lot
Poison had already done their thing. They had a deal of friends and girlfriends to heroin. We thought it was the
and their record [1986’s ‘Look What The Cat Dragged chic thing to do, but the truth is, it was f*cking stupid.”
In’] hadn’t fully broken, but it was about to. Those guys Taime believes that it was something in Hollywood’s
were our friends too, but bands in our circle weren’t like DNA that encouraged such behaviour.
Poison. We were darker, edgier, and wilder. At first record “F*cking Tinseltown,” he says. “It was sunshine, women,
companies were afraid of a group like us because we drugs, booze, rock’n’roll. Rinse and repeat. When you’re
Photo: IconicPix/Ray Palmer Archive

were unhinged. But when Guns broke, the scene became
more accepting of darkness as a part of things, rather
than just wanting bands that smiled a lot and looked like
a bunch of f*cking pretty boys.”
THAT DARKNESS was certainly real in Faster Pussycat’s
world, but when we discuss it Taime still seems to treat it sleaze scene from the get-go, hanging at a new club
with a certain insouciance – at least at first.
“We had a lot of problems with people in the band,”
admits Taime. “Our drummer [from the first relatively
a kid and everything you ever wanted is served up to
you, then you’ll take it. You’ll take too much of it. I guess
I liked the idea of seeing how indestructible I was as a
twenty-something.”
And it didn’t slow Faster Pussycat’s reputation as party
animals down any that they were at the epicentre of the
called the Cathouse that Taime helped start with local
face and DJ Riki Rachtman “as a place to pick up girls.”
“Nobody cared that the band’s reputation was

21
 FEATURE DARK DAYS
helped by being part of the Cathouse thing,” says Taime. “We’d only been together for 10 months when Elektra
“It soon became the place for bands to be seen because signed us, but we’d already managed to go through a
it was packed with strippers, mud wrestlers, models, few bassists before Kelly,” explains Taime. “Anyway, in
actresses, and all those guys October of ’86 I was in a car
and gals in what was then with [guitarist] Greg [Steele]
known as The Brat Pack. We and Kelly was in front of us on
were right in the middle of the his motorbike. The light was
entertainment mecca and a turning green, and Kelly juiced
lot of label people would roll his machine. But someone was
through the Cathouse too.” hanging a left and f*cking hit
Faster Pussycat’s manager, him. His entire leg was broken
Vicky Hamilton, would spend in seven places. I literally had
many an hour in the club to hold his leg together with
peddling her band to those my f*cking T-shirt. I remember
label folk. the tee was yellow and within
“It’s a good job that Vicky seconds the whole thing was
did her thing,” says Taime. red with Kelly’s blood.
“Because if we weren’t on stage “So we got to the hospital,
playing we were focused on and it was a f*cking nightmare,”
other sh*t. There was a lot of Downe continues.
getting hammered and meeting “Because it turned
celebrities, a lot of having sex out that Kelly
with hot chicks and drinking Nickels wasn’t his
until we passed out.” real name. We had
no idea. [It turns
IT’S HARDLY out that Kelly was
surprising that things in fact born in
would get tricky for a France and had
band trying to operate been christened
in such a hedonistic Henri Perret].
environment. Record We spent hours
labels knew that by trying to figure
signing Sunset Strip out who the f*ck
bands they’d be signing he really was so
up to selling a lifestyle we could call
as much as selling music. his family.”
But all the same, bands The accident
had to at least be able left Nickels
to play a little, and bands both in
had to be able to show hospital for
up sometimes. three months
“When we had record and out of
deals on the table, our the band.
drummer Mark was f*cked “Kelly and I were friends,”
up on heroin all the time. says Taime. “I wanted him in the band, but the
The guy was late for truth is that even though our music wasn’t exactly rocket
important gigs and when he did show up on time it was science, Kelly just wasn’t cutting it. Had the accident not
obvious that he was a junkie. Honestly, we’re lucky that happened he probably wouldn’t have lasted anyway. He
the music just about got us through.” might have recorded the first album, but long-term I’m
Indeed it did. On the Strip, Faster Pussycat had earned not so sure.”
themselves a reputation as a rocking live band with The band brought Eric Stacy in as a replacement, the
a habit of crafting simple-yet-catchy songs that both initial idea being that he’d fill in while Nickels recovered.
reflected and glorified the lifestyle they were leading. “But it turned out that Eric fit the band better,” admits
The likes of ‘Bathroom Wall’, ‘Don’t Change That Song’, Taime. “We were hoping for Kelly to get better, and I
and the inevitable ‘Cathouse’ were every bit as sleazy really wanted him there because he was my friend. But
as the Strip itself. And while these songs weren’t as something just clicked with Eric, and after Elektra saw
musically inspired as the tunes Guns N’ Roses were us with Eric in the band, our manager Vicky then told us
writing, they perhaps reflected the trashy attitude of the that the label liked us better with Eric too.”
times better than anything. Elektra Records certainly After recovering from his accident, Nickels would go
thought so and duly signed Faster Pussycat in 1986. on to land a gig with L.A. Guns in mid-1987.
But this being Faster Pussycat, the chances of things “Most of us sucked at our instruments, but Eric could
running smoothly were minimal. Just as the band were play. Elektra were nervous about our abilities at first, but
about to start recording their debut album with producer they chilled out a bit after Eric came in. We were f*cking
Ric Browde at Amigo Studios, bassist Kelly Nickels was trouble, but we always got along great with Elektra.
involved in a particularly nasty motorbike accident. We were wild, but we were a label band. We’d go

22
 “YOU THINK DEATH WON’T FIND YOU, BUT I LOST
A LOT OF FRIENDS AND GIRLFRIENDS TO HEROIN.
WE THOUGHT IT WAS THE CHIC THING TO DO,
BUT THE TRUTH IS, IT WAS F*CKING STUPID.”
TAIME DOWNE
Photo: IconicPix/Pete Cronin

23
 FEATURE DARK DAYS
down to their office and hang out, get free sh*t, and on
the debut album we gave them what they wanted.”
WHAT ELEKTRA wanted, of course, was a record that
would capture the zeitgeist and turn the Sunset Strip
phenomenon into a cash cow. The ‘Faster Pussycat’
debut album appeared on Elektra on 7 July 1987 with
a line-up of Downe, Michals, Stacy, Steele, and guitarist
Brent Muscat. Two weeks later, Geffen Records issued
Guns N’ Roses’ ‘Appetite For Destruction’. Faster
Pussycat’s album made it to number 97 on the Billboard
charts. Guns would go all the way
to number one. The public voted
with their wallets.
“To their credit Elektra gave us
support,” says Downe. “They put
us out on tour with Guns N’ Roses
and that was huge for us. It was
interesting, too, because it wasn’t
all drinking and drugs with those
guys. I mean, there was drama, but
by then they were serious about
the business already.”
By Taime’s own admission,
things weren’t that way in the
Faster Pussycat camp.
“Sh*t got slippery early on,” he
says. “I drank a lot and did a little
bit of coke, but some of the other
guys got deep into drugs – and it
happened very quickly. They did
what they had to do to feel better
and it was cool. I loved those guys,
but I won’t lie. Pretty soon their
addictions began to feel like my
burden. It became obvious that
people would need to get their
houses in order. I was like, ‘Dude,
I’ve got my sh*t to take care of. I
can’t worry about you getting so
f*cked up that it hurts the band.’ I
was a chain smoker and a drinker,
but I never did drugs like those
guys. That wasn’t my lifestyle in
the same way that it was for them.”
UNDETERRED AFTER being left
choking in Guns N’ Roses’ dust
commercially, Faster Pussycat
returned to the fray in August of 1989 with their
sophomore album, ‘Wake Me When It’s Over’. Produced
by John Jansen, the album showcased a sound that was
less party-oriented, maybe a little darker, certainly more
Aerosmith than the debut. It seemed to foreshadow
music’s drift from the Sunset Strip sound to something
much grittier. It wasn’t grunge, but it was without doubt
grungier. Opening with a riff-heavy, six minute and 44
second song titled ‘Where There’s A Whip There’s A
Way’ certainly wasn’t something Poison would have
attempted, and with the benefit of hindsight, more
demanding listens such as ‘Little Dove’ now suggest that
Faster Pussycat might have been more prescient about
the seismic changes that were about to hit the music
scene than most of their contemporaries.
“A lot of guys felt the emerging grunge and industrial
24
stuff was a drag,” says the singer. “But not me.”
A single, ‘House Of Pain’, was a more traditional ballad
that made number 28 on the US charts and helped
propel ‘Wake Me When It’s Over’ to a Top 50 position
and gold status. It wasn’t Guns N’ Roses sales, but it was
pretty respectable, nonetheless.
“But Guns were the only ones who were making any
real dough,” reveals Taime. “When Guns made money, we
all assumed, ‘Cool, we’re next.’ We sold a lot of records,
but for various reasons that didn’t happen. We figured
out quickly that we wouldn’t get rich off doing this, but
we still felt like we were on top
of the world because we were
signed to f*cking Elektra Records.
Nobody could take that away
from us.”
The drugs surely can’t have
helped the band’s financial
situation, however…
“There was a lot of money
spent on rent and drugs,” says
Taime in response. “Eric had his
problems, but Mark was the worst.
We warned him that things were
getting out of hand and in 1990
he got arrested in Nebraska after
he was caught having heroin
mailed to him. We felt like we had
to sack him, and I haven’t seen
Mark since that day. It was getting
bad. These guys’ issues were
becoming my issues.”
BRETT BRADSHAW replaced
Michals in time for 1992’s
‘Whipped!’, but with grunge ruling
the world by this time the album
stalled at number 90 on the
Billboard charts. Eric Stacy left the
band the following year, and would
later go on to join Jetboy.
“I knew the end was coming,”
says Taime.
Indeed it was. In one last grand
gesture, Faster Pussycat played
a final sold-out show at the
Hollywood Palace and then called
it quits.
“It was a strange period,” Downe
says. “But in truth I was over it. Times were changing
and everybody was getting into different things. I’m
from Seattle, so I was friends with some of those grunge
guys. I saw it as an opportunity to do different stuff.
When Faster ended I was still only in my late 20s and I
wasn’t going to bury my head in the sand like a f*cking
ostrich. Eventually I formed [industrial rock band] The
Newlydeads with [drummer] Chad Stewart and [bassist]
Danny Nordahl [both of whom are current members of
Faster Pussycat alongside Taime].”
It wasn’t just the changes to the music scene that
expedited the downfall of Faster Pussycat, though.
“I loved the guys, but the drugs and sh*t all became
too much,” admits Taime. “And not for a single second
did I second guess my decision to walk away. I needed
to do it for my sanity and my safety. I had to sort my sh*t
 “We figured out quickly that we wouldn’t get rich off doing this.”

out. I couldn’t stick around just because the other guys us, and it was for the best. He wasn’t happy about it,
wanted me to.” so he lashed out. Then he tried to put his own version
Downe certainly doesn’t of Faster together, which was
see his time away from Faster “I DON’T KNOW WHAT THE FUTURE HOLDS stupid, so I put an end to that.
Pussycat in the ’90s as wasted. But Brent and I are cool now.
OR WHAT IT’S GOING TO LOOK LIKE.
“It was an adventure to learn I won’t let something that
how to make other types of BUT FASTER PUSSYCAT IS MY BAND. happened nearly 20 years
records,” he says. “l stayed IT’LL LIVE AND DIE BY MY WORD.” ago kill a friendship. Brent has
in touch with the guys from since come in to play here and
Faster, but we weren’t up each there, and Greg filled in for us
other’s a*ses. They had to work their sh*t out and I did recently, so everything’s fine now.”
my thing. It was cool. If you’re a painter there are times
when you want to grab another brush and paint new THE CURRENT Faster Pussycat line-up consists of
stuff, and that’s what I did in the ’90s.” Downe, Nordahl, Stewart, and guitarists Sam ‘Bam’
Koltun and Ronnie Simmons. But the topic of a reunion
BY 2001, though, Downe says he “got the itch to get of the classic five-piece is never too far away. Mark
Faster going again. I figured I’d bring Greg and Brent Michals appears to be out of the picture, and his
back, but the truth is I didn’t want Eric. I’d been working replacement Brett Bradshaw died in 2021 at the age
with Danny in The Newlydeads, and he got me musically. of 50. But is it at least possible that Muscat, Stacy, and
So it made perfect sense to bring Chad in on drums too.” Steele could ride with Taime Downe once again?
At first it was all peaches and cream in the “I would never say never,” the singer says before
reconstituted Faster Pussycat, but that didn’t last long. checking himself. “Though with Eric it’s probably never.
“We got on the road with those guys, and it was cool at Who knows with Brent and Greg? But what you must
first, but then sh*t went bad, the kind of sh*t that brothers remember is that I’ve never stopped doing this. I’m
fight over. Sometimes families fight, and you don’t want not a weekend warrior. I don’t have to ‘get back into it’
to be around each other, but that doesn’t mean the love like those guys do. I stopped Faster Pussycat first time
is gone. It just means that you need a break.” around because I felt like doing other music. Then I
It must be said, though, that there wasn’t much love relaunched it when I wanted to. Music is my thing and
around in 2005 when Muscat claimed he’d been booted has been my entire life. So maybe I’ll play with those
Photo: IconicPix/Gene Ambo

out of Faster Pussycat. This, despite having recently
received a cancer diagnosis.
“There was a lot of sh*t that went down with Brent and
me,” admits Taime. “He had oral cancer and was going
around telling people that I was talking sh*t about him.
That p*ssed me off, man. My grandma died of cancer. I’d
never do that. I never talked sh*t about Brent. He was
let go from Faster because things got weird between
guys again, but what I do know is that what I have now
is cool. We’ve got new songs such as ‘NOLA’, ‘Like A
Ghost’, and ‘Pirate Love’ and they’ve been getting a
great response. The only person I need to keep doing
this band is me. I don’t know what the future holds or
what it’s going to look like. But as I said, Faster Pussycat
is my band. It’ll live and die by my word, and that’s just
the way it is.”

25
 FEATURE EYEWITNESS DATELINE: 1983-1984

THE MAKING OF

‘OUT OF THE CELLAR’

26
00
 The RATT line-up that recorded ‘Out Of The Cellar’. L-R: Robbin Crosby (guitar), Juan
Croucier (bass), Stephen Pearcy (vocals), Bobby Blotzer (drums), Warren DeMartini (guitar)

LA Sunset Strip hopefuls RATT weren’t one of the first

acts from the movement to sign a major label deal,
and their 1984 debut album ‘Out Of The Cellar’ took
a while to catch on. But the band had the last laugh
Photo: IconicPix/Eddie Malluk

when the release suddenly took off and even went

triple platinum. Andrew Daly talks to vocalist Stephen
Pearcy and bassist Juan Croucier about the making
of a real gamechanger…

27
 FEATURE EYEWITNESS DATELINE: 1983-1984

The cover of the RATT indie EP that featured the legs of

NO ONE COULD a lot of it leaked
Robbin Crosby’s high school girlfriend Tawny Kitaen
HAVE imagined into the ‘Out
the impact the Of The Cellar’
hair/glam metal sessions. We
Sunset Strip scene had a vision, and
would have in we were super
the early to mid- protective of it.
’80s, and sleazy We swore to each
but breezy Strip other early on that
staples RATT were RATT wouldn’t be
key participants like other bands,
in this hot scene. and we clung to
The LA five-piece the things that
– comprising made us who we
vocalist Stephen were. We weren’t
Pearcy, guitarists going to priss and
Robbin Crosby preen, and we
and Warren wouldn’t give in.
DeMartini, bassist We said, ‘F*ck it. If
Juan Croucier, we blow it, then at
and drummer least we’ll blow it
Bobby Blotzer being who we are.’
– had a major But we weren’t
impact thanks to f*ck-ups. We were
their streetwise wild, but we had a
imagery, whip- plan. We carefully
smart lyrics, and watched the
riff-laden yet scene, and when
catchy songs. it came time for
“I’ll take some us to step up and
of the credit for show the world
what went down in that era, and I’m proud of what we that we were the real deal, we delivered. I’m really proud
did,” says Pearcy. “I can deal with whatever good or bad of that.”
comes from that. The legacy we built means a lot to me, “We worked as hard, if not harder than anyone,” says
and don’t forget that people still go nuts when I play Croucier. “But we were also smart enough to know
those songs.” what we had to do. We had a vision, and we didn’t mess
RATT’s commercial impact is often forgotten when around when we went into the studio. All we needed was
pitted against huge stars of the day such as Mötley someone to believe in us. Thankfully Atlantic Records
Crüe and Poison. But the band’s debut album, ‘Out Of signed us – and the rest is history.”
The Cellar’, sold three million copies in the US alone.
Surely that qualifies RATT as one of the movement’s true HOW WAS IT PLAYING THE L.A. CLUB SCENE IN
juggernauts. THE DAYS BEFORE RATT WAS SIGNED BY
“A lot of bands in the ’80s made billions of dollars and A MAJOR LABEL?
got sh*t for it,” Pearcy says. “I don’t care. I’ll take my Juan Croucier: “Back then, if you wanted to survive
platinum album and all that comes with it, thank you in the jungle that was Hollywood, you had to be really
very much. Pound for pound, ‘Out Of The Cellar’ smokes nimble. There was a ton of bands playing every single
most of what came out then. It’s not like we were in it week, so on any given night you could go to any number
for sh*ts and giggles. We were serious about the music. of clubs and see great bands. We played a reasonable
We partied harder than anyone, but we also outworked amount, but we didn’t overdo it. What I remember is
everyone. So if you want to pin a headline on RATT in the getting out of my truck one night and heading into
’80s, make it that.” the Troubadour and noticing this big line outside. We
Shifting commercial tides and difficult interpersonal stopped, thinking, ‘Who’s this for? This can’t be to see
relations eventually caught up with RATT, and the band’s us.’ But it was for us, and that’s when things really started
classic era ended in 1992 after five studio albums. The clicking for the band.”
ensuing years saw them produce two records and play
more tours, but RATT never again managed to equal the YOUR INDEPENDENT, EPONYMOUS EP FROM
success of their ’80s heyday. 1983 SOLD INCREDIBLY WELL. THAT MUST HAVE
“I hate commenting on the bad times,” Croucier admits. ATTRACTED SOME SERIOUS MAJOR LABEL HEAT.
“But I have no regrets about any the albums we made. Stephen Pearcy: “That helped of course, but we also
‘Out Of The Cellar’ is a classic record and people still love had a reputation as a rocking live band. We recorded the
it to this day, so I focus on the incredible music the group EP in the summer of ’83, and by that time Mötley Crüe
made together.” was already off and running. It’s not like we were playing
Pearcy believes the band’s gritty image and never-say- theatres; we were gigging around LA doing four shows a
die attitude is encapsulated by the debut album. night at places like the Troubadour. But suddenly major
“I’ll take the blame for that vibe,” he says. “And I think labels wanted bands like RATT.”

28
 AND THAT WAS WHEN THE DEAL WITH guess if we’d been a more established band we could
ATLANTIC CAME ABOUT? have afforded mountains of coke in the studio and
Pearcy: “For a while there we were thinking, ‘Why the strippers lined up outside!”
f*ck aren’t we getting signed? We’re better than most Croucier: [Atlantic boss] Doug Morris really liked Beau
of these bands.’ The first Hill, because Beau had
wave of glam had already worked with big sellers
set in and oversaturation like Stevie Nicks. But at
was happening. But it that point Beau hadn’t
wasn’t until [respected done a ton of work with
producer] Beau Hill came rock bands. Because
down and saw us that he was Atlantic’s guy,
things started coming though, it meant that
together. He called expectations were very
Atlantic and told them high going in. And as
to sign us on the spot. things went along,
Honestly, I don’t think the label started to be
RATT should have been impressed by what we
one of the last bands were doing.”
to sign at major deal.
I think we should have YOU RECORDED
been the first.” THE ALBUM AT
Croucier: “Various labels TWO PLACES,
showed different levels of VILLAGE RECORDER
interest, but we chose to AND SOUND CITY
go with Atlantic because STUDIOS. WHAT
we felt like they could WERE THEY LIKE TO
take us where we wanted WORK IN?
to go. But what a lot of Croucier: “At the time
people don’t know is both those studios were
that RATT didn’t have a legendary, and they had
major record deal when all the equipment we
we went into the studio could ever dream of.
to start recording ‘Out Of We were surrounded
The Cellar’.” by these incredible
machines and consoles
REALLY? that had been used
Croucier: “It’s true. to record many of the
Technically we hadn’t “WE WERE VERY FOCUSED GOING IN, AND WE HAD albums we grew up
signed to Atlantic at that listening to. I thought
A SHARED VISION OF MAKING A GREAT RECORD.
point, but they wanted the Village Recorder was
us to go into the studio SO THE ABSOLUTE FOCUS WAS ON EACH OF US cool, and we worked in
immediately. It was a GETTING THE BEST TAKES OF EACH SONG THAT the same room where
little awkward. Beau Fleetwood Mac had
Hill had been down to
WE COULD. THERE WAS NO TIME TO BE SCARED.” recorded ‘Tusk’. But I
our rehearsal studio in JUAN CROUCIER found Sound City more
Redondo Beach, and interesting. It was little
we’d started cutting demos. Then Atlantic gave us the more unusual, and the recording room had an amazing
green light for the album, but at that point we still hadn’t ambiance. It had a certain magic that not many recording
officially signed.” spaces have.”
Pearcy: “We were just happy to be recording, but the
EVEN SO, YOU MUST HAVE HAD A BUDGET TO sound of the room at Sound City was amazing. It’s
BE ABLE TO START WORK ON THE ALBUM… something I’ll never forget. It was like this sacred space.
Croucier: “Atlantic gave us an idea of what we had to All this great sh*t had happened there before we came
work with. I don’t remember the exact figure, but it through. I didn’t take that for granted.”
wasn’t very much. I remember thinking that they didn’t
seem willing to lay out a lot of money. But it didn’t DID ANYONE IN THE BAND EXPERIENCE
matter; we had to get it done.” THE DREADED RED-LIGHT SYNDROME THAT
Pearcy: “If there was a budget you could have fooled me! HAPPENS TO SOME WHILE RECORDING?
We didn’t have much money to work with, which was Croucier: “Not really. Everyone was proficient enough.
crazy because Atlantic was one of the big dogs in the We were very focused going in, and we had a shared
Photo: IconicPix/George Chin

record world. Honestly, though, I wasn’t thinking about
that. The way I saw it there was a job to do and we had
to do it.”
WAS THE LACK OF BIG BUCKS BECAUSE
EXPECTATIONS WERE LOW?
Pearcy: “Maybe. Atlantic signed us on Beau’s
recommendation, and they relied on him to deliver. I
vision of making a great record. So the absolute focus
was on each of us getting the best takes of each song
that we could. There was no time to be scared. Plus we’d
played a lot of those songs live for a long time, so as
a band we knew what needed to be done. Robbin and
Warren were really well prepared, so the double guitar
solos, harmonies, and different types of rhythms were
pretty much dialled in.”

29
 FEATURE EYEWITNESS
Pearcy: “I wasn’t nervous at all. We were cranked on
10 all the time. We were like ravenous animals in a
cage primed to break out. We were full-blown ready to
conquer the world and we weren’t going to be denied.
We weren’t bothered by outside noise, so we went into
the studio and we straight-up pillaged. That was the
mindset we had.”
HOW MANY SONGS DID YOU HAVE?
Croucier: “The EP had six songs on it, but only one of
those made it onto ‘Out Of The Cellar’ and that was
‘Back For More’. We wanted to write new songs, so I
wrote a couple, ‘Lack Of Communication’ and ‘She Wants
Money’. I brought them into Beau, and he loved both
of them. I think we went in with eight tracks and then
Robbin had ‘I’m Insane’ and ‘Scene Of The Crime’ from
bands he was in before RATT. That
gave us 10 songs.”
BUT THE ALBUM CREDITS
SAY THAT ‘LACK OF
COMMUNICATION’ WAS A
COLLABORATIVE EFFORT
RATHER THAN A JUAN
CROUCIER COMPOSITION…
Pearcy: ‘Lack Of Communication’
really was a Juan song at its core,
but it had never been fleshed out
properly. We had never played
it live because we didn’t vibe on
it at first. But we kept working
on it, and one day it just clicked.
Juan’s stuff was always good, but
sometimes it took some extra work
to nail it.”
Croucier: “Perspective is
everything. I felt my songs were
pretty well fleshed out, but our
tendency was to pass things
around after one of us brought
something in.”
SO DOES THAT MEAN THE
ARRANGEMENTS OF THE
SONGS WEREN’T ALWAYS SET IN STONE…
Croucier: “Not for everything, no. For example, I
remember being at Sound City and coming up with a
different way of approaching ‘Scene Of The Crime’, so
the song was rewritten using some new elements. We
had a lot of situations like that.”
Pearcy: “We were always writing, and a lot of that stuff
we had going into the studio was carried over from our
early days. I think ‘In Your Direction’ was a song I wrote
for [an early version of the band called] Mickey Ratt
in ’79, and ‘Round And Round’ had also been kicking
around for a while. Those old songs that Robbin brought
in caused some issues with songwriting credits for
members of those older bands, but we took care of it
and settled it, and when we were recording them we
didn’t really think about those kinds of ramifications.”
THE VERSION OF ‘BACK FOR MORE’ ON ‘OUT OF
THE CELLAR’ IS DIFFERENT TO THE ONE ON THE
INDIE EP. WHY WAS THAT?
Pearcy: “I think we were trying to create something
30
DATELINE: 1983-1984
fresher. I do remember that we wanted a longer version
of ‘Back For More’ on ‘Out Of The Cellar’, but Atlantic
didn’t. They wanted a supposedly more radio-friendly
version. The weird thing is that the label re-released the
EP in ’84 and it charted at around the same time as ‘Out
Of The Cellar’, so you had these two versions of the song
out there at the same time.”
WHAT WAS THE BAND’S IN-STUDIO
RELATIONSHIP WITH BEAU HILL LIKE?
Pearcy: “It was great because Beau had helped get us
signed and so we trusted him. We thought we were
hotshots like Zeppelin or something, so at the time we
wanted the biggest producer in the world. But thank
God we got Beau because he was huge in helping us
get our studio sound. We were a great live band, but we
had no idea what to do in a studio.
Beau did a great job working with
the different personalities, and
he really helped me create my
recording style and identity during
those sessions.”
Croucier: “Beau didn’t really do
much with my bass parts. They
were well-established and to be
honest I didn’t need much help.
We’d done some pre-production,
so Beau was very aware of what
was going to happen. I was very
critical of the bass parts and
heavily scrutinized them, even
while we were recording. I looked
at every note closely. I’d say to
the engineers, ‘I want more punch.
How can we get that?’ And once
we got it I said, ‘OK, now how
can we clean it up?’ I didn’t want
any noise in the track that wasn’t
supposed to be there. I didn’t want
anything that could take away
from the performance. But Beau
was definitely critical in working
with Stephen on things like lyrics,
melodies, and phrasing.”
AT THE TIME DID YOU THINK YOU WERE
RECORDING SOMETHING SPECIAL?
Croucier: “‘Round And Round’ in particular felt special.
The song was put together in pieces. We had some
sections in place, but something was missing, so I took
it home and came up with a different bassline that I felt
would enhance the song. That’s when it really fell into
place, and that was the moment where I knew we had a
great record happening.”
Pearcy: “I think that song came together in an apartment
we were all staying in at the time. We bounced ideas off
each other until we had most of the song, and then Juan
got involved. I was constantly f*cking around with lyrics
Photo: IconicPix/Joe Giron
and arrangements. But I was partying a lot back then, so
it’s hard to remember precise details.”
DIDN’T BEAU HILL COME UP WITH THE “YOU PUT
AN ARROW THROUGH MY HEART” PRE-CHORUS
SECTION OF ‘ROUND AND ROUND’?
Croucier: “He did. We had most of the song in place
“WE WERE A GREAT LIVE BAND, BUT WE
HAD NO IDEA WHAT TO DO IN A STUDIO.
BEAU HILL DID A GREAT JOB WORKING
WITH THE DIFFERENT PERSONALITIES,
AND HE REALLY HELPED ME CREATE MY
RECORDING STYLE AND IDENTITY.”
STEPHEN PEARCY

31
 FEATURE EYEWITNESS
from the melodic and vibe standpoint, but we were
missing a big hook. Beau noticed that the song had a
weird stop bit before the chorus, and he didn’t like it. He
didn’t want it, but we did. He ended putting in a vocal
melody that ascended into the chorus and we did a
couple of other things to finish the song.”
Pearcy: “The bridge to the song wasn’t working and we
didn’t have a pre-chorus until Beau came up with the
‘arrow through my heart’ bit. If you go back and watch
videos of our early shows we’re playing that song, but
that part isn’t there. Everyone threw their two cents in to
make it better, and in the end it’s a good example of the
magic we could make.”
DID THE BAND HAVE PERSONAL MONEY BY NOW?
Croucier: “Well, we had enough money to make a record
and that was all we cared about. We were five struggling
musicians who just wanted a shot at the brass ring. There
was a bit of money sent our way to survive, but it’s not
like we were rolling in it; it was just enough to live on. But
if you’re asking for a specific dollar amount, I have no
idea. That went through management.”
Pearcy: “It wasn’t until we served up platinum albums
that Atlantic got cooler toward us. It was like, ‘These
guys are spitting this sh*t out. Take care of them. Give
them whatever they f*cking want.’ It took a minute for
‘Out Of The Cellar’ to start selling, but once it did the lid
was blown off the whole damn thing.”
DID THE MIXING AND MASTERING PROCESS FOR
‘OUT OF THE CELLAR’ GO SMOOTHLY?
Croucier: “It did. There wasn’t a lot of debate about
32
DATELINE: 1983-1984
things. We had a pretty small budget and not much time,
so it was a ready, set, go type of deal. I think the album
was recorded and mixed in five weeks, certainly no more
than six. But it went smoothly because we had a great
idea of how we wanted the songs to sound. And by the
mixing stage, Beau and the band were totally on the
same page.”
WHY DO YOU THINK ‘OUT OF THE CELLAR’
STARTED SLOWLY, SALES-WISE?
Pearcy: “It did start slowly, but to be honest we were
just happy to be on f*cking plastic, dude. We went from
feeling left behind to being happy that we did something.
I don’t know why it started slow. There’s no logic to these
things, and record labels never really know what they’re
doing. My guess would be that it was because we were
a new band amongst many other bands that supposedly
looked and sounded the same. But our video for ‘Round
And Round’ took off on MTV and that was the game-
changer. If it hadn’t been for MTV, then who knows how
it would have gone?”
Croucier: “MTV had just become big, and it was a new
avenue that people hadn’t quite figured out. We were
nervous because we were out touring, and we just
had to hope that our record company would hold up
Photo: IconicPix/Joe Giron
their end of the bargain in supporting us. The video for
‘Round And Round’ was expensive and we weren’t selling
records, so it was a risk. But once we got the attention of
the MTV crowd, we were off to the races.”
YOUR VIDEO FOR ‘BACK FOR MORE’ FEATURED
AN EARLY APPEARANCE FOR TAWNY KITAEN,
WHO’D GO ON TO BE AN MTV ICON WHEN SHE mean. We worked our a*ses off to get there, and when it
STARRED IN VARIOUS WHITESNAKE VIDEOS… happened we felt we deserved every bit of it. Anything
Croucier: “Tawny was very nice. She was Robbin’s high anyone else says is just bullsh*t noise.”
school girlfriend and ended up in LA because she was
an aspiring actress and model. We needed a pair of legs AND WHAT DOES ‘OUT OF THE CELLAR’ MEAN
for the cover of the EP, and she volunteered for the job. TO YOU NOW?
I remember the mice we put on her legs were too big, Croucier: “For me it represents an opportunity many
and we had to mix and match how many we’d have there groups who played the Sunset Strip dreamed about. But
to make it look good. She also featured on the cover of for us that dream became a reality. We had the honour of
‘Out Of The Cellar’. We had a specific concept that fit the making a record with one of the most legendary record
album’s vibe, and Tawny was perfect. In those days there labels ever, and ‘Out Of The Cellar’ allowed us to achieve
was no Photoshop and we literally had to have lights and our dreams. For that reason alone it will always have a
smoke coming out really special place
of a hole in the floor. “POUND FOR POUND, ‘OUT OF THE CELLAR’ SMOKES in my heart.”
But I remember MOST OF WHAT CAME OUT THEN. WE WERE SERIOUS Pearcy: “It’s our
Tawny being super imprint, an example
patient and very ABOUT THE MUSIC. WE PARTIED HARDER THAN ANYONE, of a hungry band
professional. After BUT WE ALSO OUTWORKED EVERYONE.” going in and doing
working with her on STEPHEN PEARCY exactly what they set
both covers it was out to do. And it just
natural to call Tawny so happened that we
to appear in the video for ‘Back For More’. She was a hit big with the first significant thing we did. Some bands
natural fit with our vibe, and seemed to understand what have to wait for a few records, but we knocked it out of
we were trying to do.” the park immediately. RATT did a lot of great stuff, but
for me ‘Out Of The Cellar’ is the most significant work we
WHAT DID THE EVENTUAL SUCCESS OF ‘OUT OF ever did.”
THE CELLAR’ MEAN TO THE BAND, AND HOW
DID IT CHANGE YOUR LIVES? DO YOU REGRET THE FACT THAT RATT’S
Croucier: “It was everything. We were just five guys who CLASSIC LINE-UP COULDN’T HOLD IT TOGETHER
were obsessed with making it, so the success of the first FOR TOO MANY YEARS?
album was huge. It’s easy to look back on it now and take Pearcy: “Of course, and I always get questioned about
what happened for granted. But at the time it changed reuniting with the other original guys. But what’s the
our lives. There was so much jeopardy when we started point? We’ve had a couple of attempts at reunions
recording ‘Out Of The Cellar’. We had no idea how close over the years and it doesn’t work. And it’s also been
we were to making it or if we’d ever become anything. But done without me, which I think taints the band’s history.
we weren’t going to take no for an answer. We persevered, Robbin and I had a plan for RATT right at the start,
and in the end we got everything we wanted.” and we made it happen. It fell apart because sh*t went
Pearcy: “Oh man, we went from pavement pirates to rock wrong, but we always had a vision. So I’m sticking to my
stars overnight. Well, not overnight, but you get what I side of the bargain now: no Robbin, no RATT.”

RATT – ‘OUT OF THE CELLAR’

Released: 17 February 1984

LINE UP:
Stephen Pearcy – lead vocals
Robbin Crosby – lead and rhythm guitar, backing vocals
Warren DeMartini – lead and rhythm guitar,
backing vocals
Juan Croucier – bass guitar, backing vocals
Bobby Blotzer – drums, percussion

Produced and engineered by Beau Hill

Recorded at Village Recorder and Sound
City Studios, Los Angeles

TRACK LISTING
Wanted Man (Robbin Crosby, Stephen Pearcy, Joey
Cristofanilli)
You’re In Trouble (Warren DeMartini, Stephen Pearcy,
Robbin Crosby)
Round And Round (Warren DeMartini, Stephen Pearcy,
Robbin Crosby)
In Your Direction (Stephen Pearcy)
She Wants Money (Juan Croucier)
Lack Of Communication (Juan Croucier, Stephen
Pearcy)
Back For More (Stephen Pearcy, Robbin Crosby)
The Morning After (Warren DeMartini, Stephen Pearcy,
Robbin Crosby)
I’m Insane (Robbin Crosby)
Scene Of The Crime (Robbin Crosby, Juan Croucier)

33
 FEATURE OVERLOOKED
Those fun-loving FM boys and their adoring public. L-R: Jem Davis (keyboards), Merv Goldsworthy
(bass), Jim Kirkpatrick (guitar), Steve Overland (vocals and guitar), Pete ‘Juppy’ Jupp (drums)

THE FUN
UK AOR rockers FM have released a massive 13 studio
albums in a career dating all the way back to 1984.
Given that they’re not stadium-straddling superstars,
what keeps them at it? Lifelong fan Dave Ling talks to
the band members about why enjoyment is paramount…

34
 Photo: Roberto Vilani

MANTRA!
35
 FEATURE OVERLOOKED
MANY CLASSIC ROCK BANDS were formed through BUT WE’RE getting ahead of ourselves. The fledgling FM
‘Musicians Wanted’ ads placed in magazines. Others of the ’80s met their enigmatic keyboard player, Didge
were pieced together in boardrooms by industry Digital (real name Phil Manchester) while rehearsing at
kingpins. But given that, almost four decades after first E-Zee Studios in North London.
coming together, the members of FM still remain the “Didge was introduced to us by our manager Dave
best of friends, it’s fitting that the birth of this band was King [NB: not the same individual as the erstwhile
planned out in more convivial fashion, over a few pints in Fastway frontman],” Steve Overland chuckles. “He was
a public house. a strange little bloke who used to play some Hammond
During the summer of 1984, in a bar in London’s organ for us when we did showcase gigs for interested
Notting Hill Gate labels. But once you
that no longer exists let Didge in he’s a
(nobody can even hard man to get rid
recall its name), the of! My brother Chris
erstwhile Samson loved him and said,
duo of bassist Merv ‘He’s got to be in the
Goldsworthy and band’. Didge was a
drummer Pete brilliant keyboard
Jupp got together player and his
with guitar-playing [short-haired] image
brothers Steve and made us a look a
Chris Overland, bit different.”
previously seen as It was Goldsworthy
part of Wildlife. The who proposed the
idea was to discuss name FM, a radio-
a project Merv and associated epithet
Pete had been that conjured up
working on with the music they all
ex-Urchin guitarist dreamt of making.
Andy Barnett, and Here was an English
former Rage singer The FM line-up that recorded 1986 debut album ‘Indiscreet’. L-R: Didge band cast in the
Dave Lloyd. Barnett Digital (keyboards), Pete Jupp (drums), Chris Overland (lead guitar), platinum-selling
and Lloyd were no Steve Overland (lead vocals and guitar), Merv Goldsworthy (bass) mould of Journey,
longer involved, but Foreigner, Survivor,
nevertheless Steve “PEOPLE MISTAKENLY THINK THAT DIFFERENT ARMS OF and Toto, infused
Overland had been with the sturdy
surprised, and not RECORD COMPANIES WORK TOGETHER, BUT THEY DON’T. blues-rock of Steely
a little intrigued, to WE’D BEEN SIGNED BY THE UK AND ‘FROZEN HEART’ Dan, the Eagles, The
receive a call from FROM THE FIRST ALBUM BECAME A MINOR RADIO HIT IN Doobie Brothers,
Jupp. The pair had and Bad Company.
previously been in THE STATES. BUT OUR PLEAS TO TOUR THERE WERE ALL “Back then, Bon
Wildlife together. IGNORED. IT WAS INCREDIBLY FRUSTRATING.” Jovi, Europe, and
“At the time, Chris Bryan Adams
STEVE OVERLAND
and I had been were all having hit
doing some work for records and they still
Asia and Yes’s manager Brian Lane; we were on retainers represented mainstream music,” Overland theorises. “It
and were doing well writing songs for other people,” was the best of times.”
Steve remembers. “So rocking the boat seemed unwise. FM pulled together a first-rate set of tunes, steeped in
I knew Pete, obviously, and of course nowadays I’d have the pursuit of girls, the losing of girls, and the heartache
Googled Merv. But there was no Internet back then, so I of trying to win them back again. Stylistically speaking,
made some calls, and I liked what people told me about it was all about worshipping the American dream.
him, and when we met everybody got on famously.” The titles said it all: ‘American Girls’, ‘That Girl’, ‘Love
“I remember we had a bit of a session, even though the Lies Dying’, ‘Heart Of The Matter’, and, best of all, a
pubs still shut at three o’clock back in those days,” Merv shimmering über-ballad called ‘Frozen Heart’.
remarks fondly. “I think we all agreed to give things three A deal was struck with CBS subsidiary Portrait for the
months and see how they went, and if we didn’t have a band’s 1986 debut album, ‘Indiscreet’. While FM had
deal by then we’d knock it on the head.” hoped to engage a producer of the stature of ‘Mutt’
“Yeah,” nods Steve. “So we made a demo that found its Lange or Bruce Fairbairn, manager Dave King reported
way to Meat Loaf’s manager, who offered us a support back to the band that after his performance behind
tour around Europe with Meat before we even had a the desk while recording demos, Portrait believed he
name for the band.” deserved the chance to produce the album proper.
“It’s always the same with FM,” Merv laughs. “Decades “CBS loved our demos, and we were told that they
later, when we got back together in 2007, that was just wanted us to make the album [without a producer].
for the one gig. And look at us now.” Whether or not Dave King was telling the truth about
“We do set the bar very, very low,” observes Jupp that we’ll never know,” Pete Jupp explains. “So,
sagely, much to the amusement of the others. reluctantly, we agreed on the condition that someone

36
 else would be brought in to handle the mix. But that didn’t work out for us,” Overland admits. “Several tours
didn’t happen either.” were lined up, but the visas didn’t come through. Each
The issue caused such a stink within FM circles that in time a new problem arose so we didn’t go. There were
2016, three decades after the original album appeared, so many arguments [between the US and the British
the band re-recorded all of its songs using the available labels], and when that happens the only thing that
new technology. suffers is the band.”
“I still can’t get my head around the way the original As FM began piecing together a third album, Chris
album sounded,” Goldsworthy grumbles. “All of us Overland took his brother aside. Steve relates: “When
believe that ‘Indiscreet 30’ is much better.” he told me, ‘I think I’ve had enough of this. I’m just not
However Jupp is quick to add: “But that original album enjoying it anymore,’ I replied: ‘We’ve just headlined
was a soundtrack to people’s lives. Many of those fans Hammersmith Odeon, mate.’ When we first came to
really don’t care about the audio quality. It certainly has a London when I was 17 and we used to play The Swan
naïve charm.” pub on Hammersmith
roundabout, I’d watch
FROM THE outside floods of people headed
looking in, it seemed like for the Odeon and
a great move when the dream of that place.
band hit the road with When Chris left FM it
Bon Jovi on a UK leg felt catastrophic. We’d
of their ‘Slippery When been together for our
Wet’ tour, followed by entire careers. But Chris
guest spots with REO has always liked to coast
Speedwagon, Foreigner, in life. He rarely pushes
Magnum, Gary Moore, himself. He likes a drink
and even Tina Turner. But and to smoke a fag.
save for a brief promo When you get to that
tour during their first [intermediate] level
lifespan, the band never and look to push on, it
got to perform where isn’t enough.”
it counted most – their
spiritual home of the BY NOW, FM had parted
United States. company with CBS
“People mistakenly and signed up to the
think that different arms independent label Music
of record companies For Nations. With the
work together, but they new material heading
don’t,” Overland states. into bluesier territory,
“We’d been signed by Chris’s decision to depart
the managing director was also influenced by
of the UK. ‘Frozen Heart’ this new music.
from the first album “My brother told me:
became a minor radio ‘This isn’t FM’,” states
hit in the States, but Jim Kirkpatrick (left) and Steve Overland: Steve sadly. “He wasn’t
our pleas to tour there “Jim’s like my best mate-come-son.” happy with the songs. All
were all ignored. It was of us knew that the next
incredibly frustrating.” album wasn’t going to be
A gap of more than three years separated ‘Indiscreet’ archetypal FM. I knew it was a weak record, but it was a
and its aptly monickered successor ‘Tough It Out’. By the transitional period.”
time the latter arrived, Dave King had been ousted and With band co-founder Andy Barnett returning as lead
FM had moved from Portrait to another CBS offshoot, guitarist, ‘Takin’ It To The Streets’ was released in 1991.
Epic. They’d also signed up with the powerful California- “I was surprised when FM asked me to re-join,”
based management company Baruck-Consolo. Barnett recalls. “They wanted to toughen up the sound,
“Their roster was full of multi-platinum bands like REO so I didn’t just have to replace Chris. I heard ‘Closer
Speedwagon and Survivor. All of their acts were massive To Heaven’ [which was actually held over till 1992’s
sellers,” Steve Overland says. ‘Aphrodisiac’] and thought this is for me, a sure-fire hit
This time around FM got to work with a recognised record… Oh well.”
producer. Neil Kernon – whose credits included Although a rocked-up reboot of Marvin Gaye’s soul
Autograph, Michael Bolton, Dokken, and Queensrÿche hit ‘I Heard It Through The Grapevine’ brought some
– delivered a crystal-clear sound with a slightly heavier welcome attention, FM were treading water – and they
edge. The first single from ‘Tough It Out’, ‘Bad Luck’, knew it.
had been co-written with the hitmaker of the moment, “Didge’s heart was no longer in the band, and he quit
Desmond Child, so there was disappointment when it too,” relates Steve Overland.
fell just short of the hallowed UK Top 40. ‘Tough It Out’ Ex-Romeo’s Daughter keyboardist Tony ‘Slim’ Mitman
Photo: Roberto Vilani

performed better than ‘Indiscreet’, though, and on a
lengthy comeback tour of the UK, the band headlined
London’s prestigious Hammersmith Odeon venue.
However, UK progress wasn’t replicated in the US.
“From an American perspective, ‘Tough It Out’ just
joined for ‘Aphrodisiac’, a rousing set that restored some
AOR to the sound while still allowing FM to keep pushing
ahead. However, with grunge becoming omnipresent, the
band was swimming against the tide. By the time of
1995’s ‘Dead Man’s Shoes’, with yet another keyboard

37
 FEATURE OVERLOOKED
change to get former Tobruk and UFO keyboardist
Jem Davis on board, Steve Overland believes FM had
simply become “irrelevant”. Pulling favours from friends
such as former Wimbledon tennis champion Pat Cash
simply to stay afloat, their options seemed to diminish
by the month.
“Pat Cash was such a great friend of the band,”
Overland exclaims, revealing that the group borrowed an
Alesis ADAT eight-track machine from the music-mad
sportsman to record ‘DMS’, the sessions taking place at a
community centre in Slough.
“Pat Cash kept the band rolling for years,” Merv agrees.
“He was a real lifesaver for FM.”
“Making ‘Dead Man’s Shoes’ was like pulling teeth,
really hard work and very little pleasure,” Jupp sighs.
“Although it had some good songs, we knew that
‘Dead Man’s Shoes’ would be the last record,” Overland
says pointedly. “We could have continued playing and
we still had a great following, but there was less than
zero chance of getting on the radio. I had this other
record that was nothing like FM, and I wanted to see
what could be done with it, so we put the band on hold
thinking we might return to it in a couple of years. In the
end it took a decade.”
In 1998, Overland and Jupp teamed up in a band called
So! for ‘Brass Monkey’, an album that they called, with
tongue in cheek, “Crowded House with attitude.” Full of
hook-laden songs such as ‘Colour Of My Dreams’, ‘Follow
In Your Footsteps’, and ‘Bittersweet’, it was refreshingly
different from FM and still remains a curio that’s
deserving of investigation.
“I was tired of going: ‘Woaaaaaaah’ [he imitates Paul
Rodgers] and wrote some little pop songs instead,”
Overland smiles.
However, although So! did some touring, the band
experienced record label problems and they gradually
faded away.
FOR YEARS, the organisers of the Firefest, an annual
melodic rock all-dayer held in England, had been trying
to persuade FM to reunite. And in October of 2007,
38
at the fourth time of asking, their persistence paid off.
Though the band had played the venue, Rock City in
Nottingham, many, many times, they had little idea of
what to expect. In the end the sheer outpouring of love
took everybody by surprise.
“The Firefest was among the best days of my life,”
Pete Jupp comments. “We had honestly thought that if
a couple of hundred people turned up it would be great,
and we’d have a laugh. But I sat at the back, played the
drums, and cried my eyes out. I loved every second of it.”
“I’m not a man of faith, but the Firefest was the
closest I’ve come to a religious experience,” comments
Goldsworthy, who by his own admission had “given up
on the band as a glorious failure.”
“Back in the dressing room we went: ‘Well… that was
pretty good. I suppose we’d better make an album.’ And
that was it – we were back,” Jupp exclaims.
Despite sharing those emotions of “shock and joy,”
Overland remembers being a little more cautious.
“After three weeks we began to get offers for more
live work and an album, and that forced us to sit down
and discuss whether we really wanted to do it again,”
he relates. “And the answer was ‘yes’. But to start it all
off, just like first time around, we wanted to write some
songs. If they were sh*t, we said we’d end it then and
there. But they were far away from being sh*t.”
At around the same time, Andy Barnett decided that
he couldn’t commit to remaining in FM.
“As a band we’d been split up for such a long time,
and nice as it was to get back together I had a feeling
my time was up,” he explains. “I was a bit all-at-sea with
my marriage and had one eye on the door. I was a part-
time member, and I felt that Steve had Jim waiting in the
wings, so it was into the sunset that I rode.”
Andy now lives in Sweden.
The ‘Jim’ that Andy mentions here is Jim Kirkpatrick
from Crewe in north west England. A relative unknown
at the time, Kirkpatrick has since gone on to play
with Quo’s Rhino Edwards, Bernie Marsden, and Rory
Gallagher’s Band Of Friends among others, as well as
carving out a solo career. He’d got to know Overland as
 a fellow regular at a canal-side pub in Audlem, Cheshire. hit for Ozzy Osbourne that was allegedly composed
“Jim’s like my best mate-come-son,” declares Overland. by various members of Wildlife] on any album,”
“He’s a talented lad and a driving force.” Goldsworthy grins.
Younger than his bandmates, the newcomer was a Since the 2007 reunion, the band’s albums have all
mere 10 years old when FM released ‘Tough It Out’. been mixed by a guy named Jeff Knowler, who adds
But his all-round enthusiasm and ability as a writer and a sprinkling of contemporary-sounding fairy dust that
player was exactly what FM needed. Since the decision helps to separate FM from the crowd.
to reunite permanently, the band has gone from strength “Please misspell Jeff’s name or everyone will want to
to strength; playing bigger gigs, appearing at prestigious use him,” Goldsworthy jokes. “Jeff is an important cog in
festivals like Download, and even finally attaining national the FM machine… unless he puts his prices up!”
airplay in the UK.
“I joined FM on the understanding that we would play ONSTAGE, FM still display an enviable internal
maybe three or four gigs chemistry. It’s clear
a year,” smiles Kirkpatrick from the camaraderie,
now. “But here we are 15 in-jokes, and playful
years later booking gigs bum pinching just as
for 2024. That’s amazing.” somebody is about to
“Jim’s knowledge of FM perform an important
is quite staggering. When solo that they’re all
he joined, he knew more mates and all want to be
about the band than we up there.
did,” Goldsworthy admits. “You don’t see the
Eagles, doing that,
HAVING TESTED the water do you?” Kirkpatrick
with the album ‘Metropolis’ guffaws. “I’ve worked
in 2010, FM now release a with some miserable
new record every couple c*nts, not naming any
of years, making a start on names, and there’s
each as its predecessor is nothing worse than
unveiled. As songwriters playing alongside
they’re incredibly someone who’s
motivated, and the just standing there
most remarkable stone-faced.”
thing about ‘Rockville’ “Working with other
and ‘Rockville II’, artists, I always wonder
‘Heroes And Villains’, why they don’t have
‘Atomic Generation’, as much fun as we
‘Synchronized’, and “THERE ARE MANY THINGS FROM FM’S CAREER do,” Jem Davis agrees.
‘Thirteen’ (all released “Everybody takes the
between 2013 and
THAT, HAD THEY TAKEN A SLIGHT TURN p*ss out of each other
2022) is the albums’ FOR THE BETTER, WOULD HAVE SEEN US IN A and there are no egos.
incredible consistency. WHOLE DIFFERENT PLACE. THAT’S NOT TO SAY When you get to a
“Everybody in the certain age you don’t
band writes. We have no I DON’T LOVE WHERE THE BAND IS TODAY, need that crap. Stiv
problems coming up with BECAUSE I HONESTLY DO.” [Overland] is singing
songs,” shrugs Kirkpatrick. STEVE OVERLAND better than ever while
“When we begin an album a lot of his peers are
I’ll have three, another guy struggling. I love my job.”
will have four, and someone else brings in a pair. That’s Stiv, AKA The Voice, is indeed one of a kind. Down the
how it is with FM. So many so-called heritage bands are years there have been several approaches from bigger
the exact opposite. Look at Guns N’ Roses, who’ve been and more famous bands, all routinely rebuffed. Overland
back together [with Slash and Duff McKagan] for how likes to be in a band with his mates.
many years? And their sole output is two rehashed songs “Again, no names mentioned, but you can probably
from ‘Chinese Democracy’. They seem incapable of guess who they came from,” he states. “They all had
putting a record together. How can a band that talented iconic, fantastic singers. I don’t want to be the guy that
not have 10 songs in them?” replaces somebody like that. Why be in a band where
“They don’t need to, Jim,” observes Goldsworthy in I wasn’t on any of the hits? FM is my heritage and I’m
broad Lancastrian tones. “They’ve all got sh*tloads quite happy in my own skin.”
Photos: Fran Cea; Richard Ecclestone

of money.” A new album is, naturally, currently being written and

“Writing songs is the part of the music business that I recorded, with plans afoot to celebrate four decades of
love best,” Overland stresses. “It’s why I’m in a band.” FM when that milestone comes around in 2024.
Curiously, however, FM don’t always recognise which “There are many things from FM’s career that, had they
of their compositions display the most potential. So for taken a slight turn for the better, would have seen us in a
the last few years they’ve consulted a team of trusted whole different place,” sums up Steve Overland. “That’s
industry advisors (which may or may not include a not to say I don’t love where the band is today, because I
pair of writers from Rock Candy Mag!) over choices for honestly do. Next year we’re going to South America for
singles and videos. the first time. That’s why I keep doing it. If you’re going
“This is the band that didn’t put ‘Shot In The Dark’ [a to be in a band, then have adventures.”

39
 FEATURE UNCOVERED

S T I N G in
the tale
40
 Blackie Lawless made his name courting controversy fronting W.A.S.P. in the ’80s.
But that almost gave him PTSD and led him to question exactly what he wanted out of
music. Howard Johnson gets under the skin of a man who’s actually got a lot more to
say than many give him credit for…

“IF I PUBLISH A book – and that’s something I’m working REALLY? THAT SURPRISES ME…
on right now – people are going to read it and they’re “Well, what you have to remember is that I was born in
going think half of it’s crap, stuff that’s been made up a swamp in the deep dark American South in the 1950s,
just to shock and titillate. But I swear to you it won’t be. The Bible Belt. And when I say I was born in a swamp, I
People ask me all the time, ‘What’s the most outrageous don’t just mean that it was a place where there were a
thing that’s ever happened to you? Well there’s no way lot of trees. It was quite literally a swamp in every sense
I can answer that because every day – especially when of the word. For my first six years on the planet, there
you’re on tour – is more outrageous than the previous were panthers and bears, half a dozen different kinds
one. After a while you get desensitised to what’s normal. of poisonous snakes, and alligators all around. And my
Would I want it any other way? I don’t think so. Has there family was part of that Southern Baptist thing; they
been a price to pay? Absolutely. And that price has been were very, very devout people. My father was a Sunday
really heavy at times, but I got into this business because school superintendent, my uncle was a preacher, and my
I wanted some excitement. Well I definitely got my share grandfather was a deacon. Gospel music was all I ever
– and somebody else’s too!” heard growing up.
Blackie Lawless – or Steven Edward Duren as he was “But when I was about four years old, I was in the car
christened – is on the with my mother. She
phone to me from the was driving with her
“BLACKIE LAWLESS IS A COMBINATION OF ZORRO,
West Coast of America. friend in the passenger
And let’s be honest, DRACULA, MUHAMMAD ALI, AND ELVIS PRESLEY. THEY seat upfront. I was in
this is the kind of self- WERE MY HEROES GROWING UP, AND IF YOU PUT ALL the back seat watching
aggrandising statement the world go by. And
you might well expect FOUR OF THEM TOGETHER, THEN THAT’S WHO I AM.” this woman started
from any of the stars telling my mother
of the ’80s metal scene, a time when the US record- about this guy who’d come to town and, as far as I could
buying public loved to reward rock musicians who were understand, a bunch of women got angry with the guy
loud-mouthed, larger-than-life, and more often than not and started tearing his clothes off of him. At the age of
downright lewd. Blackie fits the stereotype. After all, his four I started trying to figure out what this person might
band W.A.S.P. dealt the outrageous card with a flourish, have done to anger these women so much that they
first coming to the attention of the rock world outside would become violent.”
of their Los Angeles base in 1984 through the ‘Animal
(F*ck Like A Beast)’ single that seemed deliberately SO LET ME GUESS. THAT GUY WAS ELVIS,RIGHT?
designed to offend the United States’ self-appointed “Right. Eventually I learned that the kid was Elvis and, of
moral majority. And of course, in doing so, W.A.S.P. also course, the women weren’t angry with him. They were
gathered the nation’s disaffected under the one banner. excited by him. Now, about a year later my mom took
I did wonder whether the singer and bassist might still me to see this huge country star called Conway Twitty
be living in that hair metal fantasy world of perpetual who was appearing at the opening of a new shopping
adolescence. ‘Fear’ might be a better term than wonder, centre near where we lived. We were maybe 10 feet from
actually. Would I be interviewing a man who at the age of the stage, and there was a woman I recognised from our
66 would still be thinking about the same preoccupations church in the audience. She was right up in front of the
– women and sex, frankly – that had so obviously driven stage, maybe eight feet in front of us. And when Conway
him 40 years ago? Fortunately I needn’t have worried. It Twitty came on and bent down towards her at one point,
is true that Blackie is in the middle of a 40th anniversary this woman lost her mind. At this moment I started to
world tour where he revisits all the key moments of understand the power of music. I’d already heard Chuck
his career including ‘Animal’. It’s also true that the tour Berry’s ‘Sweet Little Sixteen’ on the radio, and I swear
poster features Blackie drinking blood from a skull in when it came on it was as if a bolt of lightning shot right
time-honoured tradition. But spending two hours talking through me. And I thought to myself, ‘What is it about
to him reveals a man who’s significantly more thoughtful music that can do this to people?’ It was intoxicating.”
than the broad strokes cartoon image might suggest.
Personally, I found it far more interesting to get under YOU SAY GOSPEL MUSIC WAS ALL YOU HEARD GROWING UP. WAS THAT
the skin of the onstage metal persona that has served MUSIC INTOXICATING TO YOU AS WELL?
Photo: IconicPix/George Bodnar Archive

Blackie so well, and talk to the real Steve Duren. His
world view and personal opinions are broad and varied.
Turns out it’s not all about outrageous codpieces and
semi-naked women on racks after all…
YOU SOUND A LITTLE DISTRACTED, BLACKIE. HAVE
I INTERRUPTED SOMETHING?
“To be honest, I was watching a fascinating documentary
on TV about Elvis, his Southern roots, and his affinity
for gospel music. And I was thinking about how much I
identified with all that.”
“Absolutely. Southern gospel is way different to the stuff
you might have heard coming out of churches if you
were growing up in the UK. There was a rhythm to it, a
cool factor to it, even in the white churches that were in
the South at the time. The rhythms of all that ’50s music,
from gospel to country and bluegrass, rhythm and blues,
jazz, were where rock and roll came from.”
YOU MOVED FROM FLORIDA TO NEW YORK IN THE EARLY ’60S. HOW
DID THAT AFFECT YOUR UNDERSTANDING OF LIFE AND MUSIC?
“We arrived in New York just as the British Invasion

41
 FEATURE UNCOVERED
started happening. Even in a city where it was have been, because I was just basically pinch hitting for
notoriously difficult to impress anybody, The Beatles someone. I was a momentary replacement, and that
turned the place upside down [after appearing on the line-up of the band broke up at the end of that tour.”
influential Ed Sullivan Show in February of 1964.] They
sent shockwaves through the entire city! I was living on BUT YOU AND ARTHUR DECIDED TO CONTINUE TOGETHER IN KILLER
Staten Island and could look out of my bedroom window KANE. HOW COME YOU ENDED UP IN L.A. RATHER THAN NEW YORK?
and see the Statue Of Liberty. Talk about a culture shock! “That was Arthur’s idea. I thought it was obvious that
But as the crow flies, Staten Island was 12 miles from we’d base the band out of New York, but Arthur said no.
the theatre where the Ed Sullivan Show was filmed. So He said if we went back to New York we’d be has-beens.
at a very young age I’d been right at the epicentre of If we went to LA we’d have a chance to start over, and
two important musical phenomena that would change it was kind of hard to argue, brave new frontier and all
the world. I’d experienced Elvis – The Big Bang – and I’d that. So it was California here we come. And because
experienced The Beatles – The Aftershock.” Arthur had something of a reputation from the Dolls,
we could skate on the name a little bit, get some gigs
SO HOW DID THIS ‘BIG BANG’ DRIVE YOU TO WANT TO MAKE MUSIC? and what have you. But Killer Kane only lasted a year or
“My brother was eight years older than me, and he had so because Arthur’s drinking got out of control. At one
an acoustic guitar. He didn’t really know how to play it, point he was drinking 13 quarts of Colt 45 beer a day –
but I started sneaking into his room, grabbing it, and and that was during the daytime just to keep him away
banging away. I had my first band when I was nine years from the hard liquor. He’d be onto that after about seven
old. We played a little in the evening. He
private party, we got got into a pretty bad
paid $16.35, and at that shape, and I put him
point I thought that into a hospital facility
not only was being a twice. That place was
musician a pretty cool like a horror movie,
job, but that I was also 25 guys in one room
on the road to riches. Of all screaming and
course, that was more detoxing. Absolute
money than I’d make nightmare material! I
from rock’n’roll for a long was sleeping on floors
time after that!” here and there and
trying to deal with
THE STORY GOES THAT YOU Arthur at the same
JOINED THE NEW YORK DOLLS time, and in the end
IN 1975 WHEN YOU WERE “YOU DON’T CHOOSE SHOWBUSINESS, SHOWBUSINESS it became totally
JUST 19 YEARS OLD… CHOOSES YOU. I DON’T THINK MOST PEOPLE CAN unworkable.”
“But that was after ENDURE THE HARDSHIPS THAT GO ALONG WITH
playing in any number THE HOLLYWOOD DREAM, EH?
of high school bands TRYING TO MAKE IT.” “And the irony was
already. The weird thing that when I finally got
is that I joined the Dolls after moving back to Florida. The a regular place to live – a three foot by 12-foot closet – I
family had moved back there, and by the time I finished could walk out my front door and see the Hollywood
high school I was already playing in a band that was sign. But it’s times like those when you find out how
doing little clubs up and down the East Coast. When I badly you want it. That’s when you discover that you
was 18, the Dolls came through Florida, and I met [Dolls don’t choose showbusiness, showbusiness chooses you.
bassist] Arthur Kane. A year later, the band was passing I don’t think most people can endure the hardships that
through again and I went to see Arthur. By this time I go along with trying to make it. [The actor] George
looked like a full-size version of [Dolls guitarist] Johnny Clooney lived about three or four blocks away from me,
Thunders. When I met up with Arthur he looked at me and he was going through the exact same thing. He
real strange. He said, ‘Come here, I want to talk to you.’ originally came out to California to be a musician. He
I thought he was drunk. I guess he was a little bit. He was a guitar player who ended up doing movies, but he
said, ‘Do you want to join the band?’ I thought he was started out sleeping in a closet too. I thought I was the
just talking nonsense and said, ‘Yeah, right, whatever.’ only one, but after hearing his story, I think there were
But Arthur told me he was serious. Somebody wanted probably a lot more of us than I was ever aware of.”
Johnny out of the band at that point, and one thing led
to another. I was in the right place at the right time, but WHAT EFFECT DID ALL THAT STRUGGLE, AS WELL AS SEEING ARTHUR
I only ever played two shows with The Dolls. That band BATTLING ALCOHOLISM, HAVE ON YOUR OWN MOTIVATIONS TO MAKE
was five guys trying to be [legendarily wayward Doors IT AS A MUSICIAN?
frontman] Jim Morrison and succeeding, and that wasn’t “Well I knew how hard it would be even before I got to
what I wanted. I’d watched them soundcheck just before California. About two months before I ran into Arthur
Arthur asked me to join and I was with the drummer of for the second time, I was back in Florida feeling very
my band at the time. I wasn’t impressed and said to him, discouraged because I hadn’t been able to get anything
‘I wouldn’t play in this group if you paid me.’ A few hours serious going in New York. But I had seen Kiss being
later I was eating my words. But I’ve said many times that born and doing their first record. I was particularly
more has been made out of me and the Dolls than should friendly with Ace Frehley, but I also knew Gene Simmons

42
 and I really related to him, because I thought we had reading everything I could get my hands on about those
a similar focus. So a little later on, Kiss were on tour early showbusiness guys, people like [circus founder] PT
somewhere in Indiana I seem to remember. I’d call Ace Barnum and [escapologist] Harry Houdini. I wanted to
every so often just to check in, see how he was doing. find out what all these guys had in common, and what
But one day I called whatever hotel it was they were made them successful. I studied captains of industry too,
staying in and people like
Ace wasn’t JP Morgan
around. and John D
Gene picked Rockefeller.
up the call. And the thing
We started I discovered
chatting, and about all of
I told him them is that
that I was they had
discouraged incredible
and was focus, and
thinking of that every
leaving the time they
business. got knocked
Gene knew down they
the people I got back up
was playing stronger.
with at the “You have
time and said, to remember
‘Those guys that I came
you’re in a out to
band with? California
Are they like when I was
you?’ I said 19, and by the
no. Gene said, time I was
‘No, they’re working on
not. They’re Sister I was
f*cking losers. in my early
You’ve got to twenties. I’d
go find some already spent
guys like you, years looking
start a band, for the right
do what you people, guys
know you’ve who weren’t
got to do.’ losers. Gene
Gene railed Simmons and
on me for like Paul Stanley
15 minutes. had a magic
‘Don’t quit. partnership,
Don’t give up. and that’s
You’re special. what I was
You’ve got looking for.
that thing.’ But I was
Gene saw W.A.S.P. photographed in London, 19 September 1984. Clockwise never able
that in me at from top left: Chris Holmes (guitar), Blackie Lawless (bass and to find that
19 years old, vocals), Randy Piper (guitar), Steve Riley (drums) other guy. At
and that was one point I
the pep talk was starting
I needed at that precise moment in my life. When I got to think that something was wrong with me, but by the
off the phone, I thought, ‘Gene’s right. I need to drop the time I was 25 I’d come to the conclusion that it wasn’t
guys I’m with.’ And had that phone call not happened I me after all. There were just a lot of f*ck-ups out there. I
don’t think I would even have gone down to see Arthur decided that if I was going to make it, I’d have to put all
Kane that second time, and so the chance to play for me of the load on my own back and carry it. I couldn’t spend
to play with the Dolls would never have happened.” my whole life looking for a partner I might never find.”
Photo: Iconic/Ray Palmer Archive

DESPITE THE PROBLEMS WITH ARTHUR, YOU REMAINED LASER
FOCUSED IN CALIFORNIA…
“After working with Arthur I moved on and formed the
band Sister, which was my first attempt at trying to set
out my own vision of what I wanted to do in music, which
was something theatrical. My dad worked on carnivals
when he was a kid during the summertime, and I’d heard
all these stories. When I came to California I started
WAS THAT DEPRESSING?
“I wouldn’t say depressing, but definitely demoralising.
But it also made me dig deep, because at the end of the
day we’re all responsible for who we are. It’s true that if
Gene doesn’t find Paul or vice versa, then you probably
never hear from either one of them. They had that magic
combination between the two of them that made
it work. But that wasn’t to be my fate. My fate was

43
 FEATURE UNCOVERED
going to be different. THERE’S ONE GUY WHO’S
And I wasn’t going VERY IMPORTANT IN THE
to sit around and W.A.S.P. STORY AND THAT’S
whine and complain IRON MAIDEN MANAGER ROD
about that.” SMALLWOOD. TELL ME HOW
HE CAME ONTO THE SCENE…
DID YOU EVER COME CLOSE “You can blame [English
TO FINDING ANYONE WHOM metal photographer]
YOU THOUGHT MIGHT BE Ross Halfin for that! In
THE GUY? the late summer of 1983,
“Probably the closest I Rod was in LA doing
ever came was finding something Iron Maiden-
Nikki Sixx when he related, because their
was 19 and I was 21 or label Capitol had a big
22. He was in Sister office in LA. Now Rod
with me for a while had seen pictures of
there, but Nikki wasn’t W.A.S.P. and he thought
ready, because he we were a joke. But
really couldn’t play. He Ross had already shot
had good ideas, and the band a couple of
he had a lot of fire. times, so he was very
His enthusiasm was familiar with us, and he
very appealing to me. kept saying to Rod, ‘No,
When he talked about no. You have to come
doing something, see this band. This is
sparks would fly different.’ So Rod came
off his a*s. There’s down to see us – very
always potential when begrudgingly. But at the
somebody’s got the time our intro tape was
right attitude. But at ‘The End’ by The Doors.
the same time you’ve Rod just happened to
got to be able to play be a massive Doors
too. And Nikki just fan, so when he heard
couldn’t. He was right the intro tape come
person wrong time.” on he thought maybe
there was something to
YOU THEN HAD A BAND, the band after all. He
CIRCUS CIRCUS, WITH “I GOT SHOT AT TWICE AND HAD LITERALLY watched the set and
RANDY PIPER ON GUITAR, later told me that after
AND BY 1982 THAT GROUP THOUSANDS OF DEATH THREATS. TWO YEARS AFTER just two or three songs
HAD MORPHED INTO W.A.S.P. ‘ANIMAL’ HAD COME OUT, WE WERE TOURING, AND he knew we had what
“And all the while WE WERE STILL GETTING BOMB THREATS AT GIGS.” it took.
I’d been honing the “So the night after the
persona of Blackie gig, I was at [famous
Lawless. I didn’t want to be Kiss, and I didn’t want to be rock star hangout] the Rainbow and Rod was there too.
Alice Cooper, but I knew I wanted a theatrical persona But I didn’t know what he looked like, and as I walked by
and a theatrical band. I was asking myself, ‘What do you his table Rod reached out, grabbed me by the arm and
do that’s going to make you stick out from everything pulled me in to sit down with him. And he immediately
else that’s going on. What makes you different? What started telling me what I was doing wrong.”
makes you you?’ Blackie Lawless is a combination
of Zorro, Dracula, Muhammad Ali, and Elvis Presley. BET THAT WENT DOWN WELL…
They were my heroes growing up, and if you put all “My first thought was, ‘Who the hell is this guy?’ You
four of them together, then that’s who I am. I thought have to remember at this point we’re the number
that if I could take the character of each one of them one band in Southern California and we’re selling
and interpret it in my way – and do it realistically and more tickets than anybody. We’d already played the
authentically – then I was going to be bigger than life. By 3000-seater Santa Monica Civic [in August], and we
the time the W.A.S.P. line-up had stabilised at me, Randy, were doing all this without a record company, without a
[drummer] Tony Richards, and [guitarist] Chris Holmes manager, without anything. And here was this guy telling
in 1983, I knew instinctively that we had what we needed, me how I was screwing it up, how I was doing this wrong
purely because of the chemistry between us. That’s the and doing that wrong. He’d had a couple of drinks and
reason I volunteered to play bass [after playing guitar up he was loud, and he was a little boisterous. So we talked
until the point where Holmes joined], because we had for a little bit, maybe five or 10 minutes, and I really
the chemistry, and I knew it. This was not the Blackie didn’t think much of him. Actually, I couldn’t wait to get
Lawless show. It was a band and when you saw W.A.S.P. away from him. And then the next night I’m back in the
play, you understood that it was a band.” Rainbow and Rod’s there again. Same thing happens. But

44
 this second night he was more focused, and some of the fact that we’d been working our way up and already had
things he said started to click. I was intrigued, so we both songs like ‘L.O.V.E. Machine’, ‘I Wanna Be Somebody’,
went back to the Sunset Marquis Hotel where he was ‘Hellion’, and ‘School Daze’ in our repertoire. W.A.S.P.
staying, and we sat up until around seven in the morning fans had already had the best part of a year to get
talking. We compared notes about the philosophy of used to those songs and suddenly we were throwing
how a band gets from point A to point B, the hard work something new at them that they hadn’t heard before.
that it takes to get there, things like that – and Rod That night ‘Animal’ died an ugly death, and I remember
was saying everything that I’d been thinking for years. being shaken after the show, thinking that maybe the
We fell in line on absolutely everything we discussed. song wasn’t as good as I thought it was.”
We were totally simpatico. And the more we talked,
the more I realised that this was the guy, the partner BUT OF COURSE, FOR BETTER OR WORSE, IT WOULD SOON BECOME
I’d been looking for, even though he wasn’t a musician. W.A.S.P.’S SIGNATURE TUNE…
So I went away that morning, drove back to my place “Honestly, we just thought it was going to be another
thinking I’d found song in our
my partner. You repertoire. We
have to remember were already
that Iron Maiden stringing up a
wasn’t a massive half-naked woman
band at this point. on a rack at our
I knew who Iron shows. I didn’t
Maiden were, see how a song
but they weren’t called ‘Animal
huge. That wasn’t (F*ck Like A
why I chose Beast)’ was going
Rod. I chose to be any more
Rod because of outrageous. We
who he was, and were just looking
because of the for the best songs
way he thought. we could write,
“We’d made a and we thought
couple of early that one was
demos that I gave pretty good. I
him, and he went wrote it in about
back to the UK five minutes, and
about a week I didn’t think it
later. He said, ‘Let was as strong
me think about it, as some of the
because this is a other things we
big decision. I’ve had, but it grew
Blackie onstage with Chris Holmes in El Paso Texas,
got another band on me. When you
2 March 1985. “The guy was a hell of a performer.
I’m working with. But his musical contribution was minimal.” write something
Give me a month.’ quickly, maybe
And finally Rod you don’t
called me up and his words – literally – were ‘Let’s do it.’ appreciate it as much as you should. But ‘Animal’ was the
song that really grabbed Rod. He saw how he’d be able
WAS W.A.S.P. A FULLY FORMED CONCEPT AT THAT POINT? to market it as a single once we got the major deal. If it
“Oh yeah. All the big gags were already in place: the had been left to me, I would have totally missed it.”
meat, the blood, the girl on the rack. All that was already
there. That stuff was more or less down to me.” THAT WAS WHAT YOU MIGHT CALL A CALCULATED RISK, THOUGH,
WASN’T IT? IT WAS GOING TO GRAB PEOPLE’S ATTENTION FOR
A DEAL WITH CAPITOL THEN HAPPENED PRETTY QUICKLY, BECAUSE SURE, BUT YOU MUST HAVE KNOWN THAT IT WOULD ALSO CAUSE A
I REMEMBER SEEING YOU AT THE TROUBADOUR ON SUNSET STRIP BACKLASH AMONGST MANY AMERICANS OUT THERE…
SOMETIME IN 1984, AND THE SHOW WAS BILLED AS A FAREWELL “And not just Americans. We actually ended up
TO THE L.A. SCENE BECAUSE W.A.S.P. WAS ONTO BIGGER AND getting banned in Ireland and Norway, and the furore
BETTER THINGS… surrounding ‘Animal’ ended up following us wherever we
“That show was on 12 April 1984, and it was dubbed ‘LA went. When we went to the UK, there was a vicar and his
Finally Gets Rid Of W.A.S.P.’ because we’d signed with entire congregation of about 200 people that followed
Capitol. Rod and I had been working together since the us around to half a dozen different shows. They were
previous October.” buying tickets to every venue and would start praying
during the show! It caused a huge stink over there.”
Photo: IconicPix/Kevin Estrada

AND THE POSTER FOR THAT SHOW ALREADY HAD THE INFAMOUS PHOTO
OF THE CODPIECE WITH THE BUZZ SAW AND THE WORDS ‘I F*CK LIKE
A BEAST’ ON IT THAT WOULD GO ON TO BE THE CONTROVERSIAL COVER
OF THE ‘ANIMAL (F*CK LIKE A BEAST’) SINGLE…
“‘Animal’ was written around April or May of ’83. We
played at the Santa Monica Civic in August and debuted
the song that night. I remember thinking it was a pretty
good number. But what you need to bear in mind is the
BACK IN THE STATES, PEOPLE LIKE THE PMRC – THE PARENTS
MUSIC RESOURCE CENTER – REALLY GOT STUCK INTO YOU OVER
THE PROFANITY OF ‘ANIMAL’. WERE YOU EVER WORRIED FOR YOUR
PERSONAL SAFETY?
“That whole PMRC thing started about a year after the
record first came out, and that was when everything
really blew up. I got shot at twice and had literally

45
 FEATURE UNCOVERED
thousands of death threats. Two years after ‘Animal’ had
come out, we were touring, and we were still getting
bomb threats at gigs where the entire venue had to
be cleaned out. There would be 2000 people in a hall,
and we’d have to get them out, sweep the venue, and
then get them back in. Wherever we played there’d be
a newspaper with a headline saying something along
the lines of, ‘Controversy Comes To Our Town’, and
of course they were referring to W.A.S.P. When it first
started happening we treated it like a joke, but eventually
it got to me, and I really started to feel like I was going
to crack. I don’t know if I’d go as far as to say that I
got PTSD over the whole affair, but it definitely had a
psychological effect on me. That kind of constant attack
changes you. I play shows in cities, of course, but now
when I’m not working
I just don’t go into
cities at all. I’m talking
to you right now from
where I live, about an
hour and a half north
of Los Angeles, and it’s
all ranch properties.
We joke that there
are more cows and
horses here than
there are people. But
I live out here for a
reason. I prefer to be
out with the animals
because at least I know
how they’re going to
react. The two-legged
animals, not so much.”
I THINK IT’S FAIR TO SAY
THAT THE CONTROVERSY
SURROUNDING ‘ANIMAL’
HAD SOME BEARING ON THE
LEVEL OF SUCCESS YOU
ACHIEVED. W.A.S.P. DID
WELL, BUT THE BAND WAS
NEVER BON JOVI OR GUNS
N’ ROSES. WAS THAT A
FRUSTRATION FOR YOU?
“I was watching
something on TV
earlier this evening called A Life In Ten Pictures and this
episode was about John Lennon. There was a photo
of him from 1966, just after he’d made the ‘Beatles are
bigger than Jesus’ comment, and he’s sitting in a chair
with a drink. He looks absolutely broken. And I thought
to myself, ‘I know what that feels like, where everything
you dreamed about suddenly starts crashing down
around you.’ And that’s when you think, ‘Do I really want
this anymore?’ George Harrison’s wife Olivia once said
that George gave his nervous system for The Beatles. If
you haven’t been through something like that yourself,
you can’t even begin to fathom what that means. By
the time you come out of an experience like that you’re
wrecked. You’ll never be the same again. I felt my life
could never be the same again after the first two or
three years of W.A.S.P. For a time there, we were on the
cover of 20 per cent of all the magazines in America
because of all the crap that was going on [with ‘Animal’].
No matter where I was in the world, I couldn’t get away
from it. It messed with my head – and with my music.
We made the third W.A.S.P. album, [1986’s] ‘Inside The
Electric Circus’, and I didn’t like the record we’d made.
Everyone in the band felt disillusioned. We’d done record,
tour, record, tour for three years straight and after that
you don’t know who you are anymore, you can’t think
clearly. We felt disillusioned because the record label
was telling us that if we didn’t keep churning out records
then the fans would forget about us. As a young man I
believed that crap. I didn’t realise that the most sure-fire
way for fans to forget about you is if you make a bad
record. Some bands from that era made the same record
that had gotten them attention in the first place over and
over and over again. They stuck with the status quo and
got bigger and bigger
and bigger. I decided I
didn’t want
to do that because
after three world
tours I’d changed as
a person, I’d changed
as a performer, and
I’d changed as a
songwriter too.”
SO YOU DECIDED TO FOLLOW
THE MUSE RATHER THAN
THE DOLLAR…
“When I was making
the first W.A.S.P. album
in April of 1984, I got
into a conversation
with the engineer
on the day that
[soul legend] Marvin
Gaye died. I hadn’t
previously known that
this guy had made two
albums with Marvin.
And he said to me,
‘Marvin always made
records that reflected
who he was at that
particular moment
in his life. He didn’t
try to make records
like whatever was hot on the charts, or whatever was in
vogue at the time. He was making records that reflected
who he was at that moment.’ I told myself I’d never
forget that, but of course I did forget it right up until
1987. And at that point, I decided that I needed some
time to figure out who I was as an artist. And that’s when
I took time out to come up with ‘The Headless Children’.
A very famous manager of another band once said that
if I’d simply made the first W.A.S.P. album over and over
again, then I’d have been the biggest artist in rock’n’roll
– or at least in metal. But because I became something
of a chameleon, I sacrificed that. But you know what? I
don’t regret that for one minute because I’ve done what
I wanted to do. I’ve made the records I wanted to make,
and I still made a pretty good living off of it. Do you need
to be the biggest to be happy? No you don’t. Being able
to make records that truly reflected who I was at that
point was far more important to me.”

46
I IMAGINE THAT YOUR RECORD COMPANY HAD A was working myself to a frazzle, waking
DIFFERENT POINT OF VIEW… up in the night in a cold sweat. I had
“When the record label first heard nervous exhaustion, and I was about
the demos for [1989’s] ‘The Headless to crack. And I effectively didn’t have
Children’ [the first W.A.S.P. album that a band anymore. But I’d decided that I
would tone down the shock horror was going to follow my muse, and had
element of the band’s style and address already declared to the world that the
socio-political themes] they told me that next W.A.S.P. album was going to be
it wasn’t the record I was supposed to different and really special. In a way,
make. They wanted ‘L.O.V.E. Machine’ I was setting myself up to be publicly
Part Three. But ‘The Headless Children’ dismantled. Now, fortunately, it worked
became the highest charting W.A.S.P. out for me, but the pressure I put on
album. Then the next album I did was myself making ‘The Crimson Idol’ was
[1992’s rock opera] ‘The Crimson Idol’, insane. People have asked me many
and again the label said, ‘This isn’t the times whether I would go through all
album you’re supposed to make. Nobody that again? The romantic in me says yes,
makes this kind of record any more.’ That but then the reality of what it took to do
was the last album I made for EMI, and it kicks in. And you think, ‘Would I really
it was something of a defining moment want to do that again?’ There’s blood on
for me. You can’t listen to other people. those tracks, man. Would I really want to
You have to stay true to yourself and do pay that kind of price again? What price
what’s right for you.” success? What price fame? Every time
you really put your head down and go
BECAUSE IT’S BETTER TO TRY AND FAIL WITH for it, you’re going to leave a little of bit
YOUR OWN ART THAN TO FAIL DOING SOMETHING of yourself behind. I don’t think there’s
SOMEONE ELSE TOLD YOU TO DO, RIGHT? any way around that.”
“Well, I’ve had micro moments of that in
my career, where I got side-tracked by YOU MENTIONED CHRIS HOLMES DEPARTING THE
others, but nothing catastrophic. But it’s BAND AT THAT POINT. HOW WOULD YOU SUM UP
hard to hold your nerve. ‘The Headless HIS OVERALL CONTRIBUTION TO W.A.S.P.?
Children’ was an enormously expensive “Chris was the visual yin to the
record to make for the time. We spent overall yang of the band. His biggest
$600,000 doing that record, and after a contribution was visually. The guy was a
year and a half working on it I’m holding hell of a performer. He was really, really
this little plastic CD in my hand, saying, good. But in all honesty, his musical
‘And this is all I get for 600 grand?’ And contribution was minimal. In the last
then it was equally expensive to do the few years, he’s whined and complained
accompanying tour. We were one of the about money that’s owed to him, but if
first bands to incorporate video into the you take all of his musical contributions
show, and we had Frankie Banali’s to the band it adds up to a minute
drum kit come up out of the floor “I’VE DONE WHAT I WANTED TO DO. and 27 seconds. And he was paid
and levitate before turning into a I’VE MADE THE RECORDS I WANTED twice. When he effectively left
giant TV. I can remember doing the band when he married Lita,
pre-production in England and TO MAKE, AND I STILL MADE A he was bought out for his rights
Rod Smallwood came down to see PRETTY GOOD LIVING OFF OF IT. to the name. And then, further
me at the rehearsal studio. He had down the road, he was bought
DO YOU NEED TO BE THE BIGGEST
a list of costs, and told me that out of his publishing. He signed
we were haemorrhaging cash and TO BE HAPPY? NO YOU DON’T.” two separate agreements. But
that we had to cut the budget. I musically speaking, Randy Piper’s
went through the costings line by line, but there was just the unsung hero of W.A.S.P., and Randy doesn’t get the
nowhere to cut. So we came up with a plan to do two credit he deserves for that.”
passes of the world on tour. The first pass would get us
back to financial stability, and the second pass would RANDY AND CHRIS HAVE BEEN OUT OF W.A.S.P. FOR MANY, MANY
get us into profit. But right after we’d done the first pass, YEARS NOW, BUT HERE YOU ARE STILL FRONTING THE BAND WITH
[Chris] Holmes decided that he wanted to marry [fellow DIFFERENT PLAYERS, AND CURRENTLY PERFORMING SHOWS ALL OVER
rocker] Lita Ford and didn’t want to tour anymore. I’d THE WORLD TO CELEBRATE THE GROUP’S 40TH ANNIVERSARY. AND
introduced him to her when we were doing rehearsals for YOU’RE PLAYING ‘ANIMAL’ AFTER PRETTY MUCH DISOWNING THE
the album. And the big problem was that I was almost a SONG. BACK IN 2009, YOU SAID THAT YOU WERE NEVER GOING TO
million dollars in debt by this point.” PLAY IT AGAIN BECAUSE OF YOUR NEW-FOUND CHRISTIAN FAITH. CAN
YOU EXPLAIN WHY YOU CHANGED YOUR MIND?
SO HOW DID YOU GET OUT OF THAT PARTICULAR BIND? “When we were starting to put this tour together, Rod
“I had to take the advance from the record company and I spent a long time going back and forth. He doesn’t
for the next record. All the money that the band had officially manage me anymore, but we still spend a lot of
made up to that point was gone, so I took the advance time talking. Rod’s a fan, we’ve had a close relationship
and took a massive gamble at the same time. I used since the beginning, and we’ll continue to have one until
that money to build my own studio, and started making they put us both in a box. So we talked about how best
the next album there – an album, by the way, that my to present a show that went back 40 years, right to
record company quickly told me they didn’t believe in. I the beginning. And the approach to ‘Animal’ is really

47
 FEATURE UNCOVERED
a microcosm of that entire conversation, because you ‘I’ve left one organised religion to join another one. Why
can make a statement like that at 20. But how do you do I want this?’ So I stopped being involved right after
make a statement at 50? Or 60? Can you do it? Will it that, and went for 30 years thinking I didn’t want any
translate? Will it have any meaning? How do you present part of any of it. But after all those years, my religious
it now? How do you present it in a truthful way, but in a upbringing was really starting to haunt me, and in the
way that doesn’t embarrass you? end I decided that I had to know one way or the other.
“I decided that there was no way we could present I had to know if this religious thing was real or not. So I
that song the same way we did when we were in our spent six months reading the New Testament, coming
20s, with that whole sexual element of it. But I thought at it from a very prejudiced attitude, trying my best to
that maybe we could present it by focusing on the disprove it. Why? Because I wanted that monkey off my
impact ‘Animal’ had first time around, and the underlying back once and for all. But I didn’t just study the Bible. I
themes of the rights and wrongs of censorship that the also studied forensic information that you can get from
initial outrage highlighted. secular history books to
There’s a part of the see if it would line up with
current audience that what the Bible said. And
wasn’t alive when ‘Animal’ after six months of trying
first came out, and by my best to disprove the
showing related films when Christian doctrine, I came
we’re playing the song, we to a conclusion about
were able to educate them Christ. I decided that the
about those issues. It only way to look at him
gave them a short crash rationally was to conclude
course in understanding that he was either a liar,
what happened back then, a lunatic, or The Lord.
and it worked amazingly And at the end of those
well. But it was definitely six months, I concluded
a challenge.” that he was the latter of
the three. Think about
THAT’S ALL WELL AND GOOD. this. Gandhi, Muhammad,
BUT DIDN’T SINGING “I F*CK Buddha… none of those
LIKE A BEAST” MAKE YOU FEEL guys ever claimed to be
UNCOMFORTABLE AT THE AGE God in the flesh. Jesus
OF 66, ESPECIALLY GIVEN YOUR is the only one who did
BORN-AGAIN CHRISTIAN BELIEFS? that. And even coming
“I would be less than at it from an extremely
honest if I said it didn’t. prejudiced perspective
And I know this is going and trying to disprove
to sound like justification, it, in the end I found that
but if you look at the Bible I couldn’t.”
carefully, there’s plenty
of uncomfortable stuff AND HOW HAS THAT REALISATION
in there. I’m certainly not AFFECTED YOUR LIFE?
trying to compare my little “I don’t wear my faith on
show with Scripture, but I my sleeve – or I try not
looked at all these things to – but I definitely see the
and I said, ‘Can a bigger world differently. I’m more
point be made besides at peace. I’m not going to
what I may or may not be feeling personally?’ And I beat somebody over the head with my beliefs, because
Photos: IconicPix/George Chin; IconicPix/George Bodnar Archive

came to the conclusion that it could.”
ARE YOU SURPRISED THAT YOU’VE COME BACK TO RELIGION IN THE
WAY THAT YOU HAVE?
“Well, they say the apple doesn’t fall too far from the
tree, right? So here’s what happened to me. When I
came to California, for maybe 30 years I went about as
far away from religion as you could possibly go. I studied
the occult for three years, and that was getting very far
away from my roots. I was dating this girl for a while who
was a witch, and I’d gone to some black masses with
her. I got used to seeing her chanting in a pentagram
that she’d made on the floor at home in her apartment.
She’d chant spells when she needed something, money
or whatever. And one night while I was watching her
chant, I had a lightbulb moment. I realised that what she
was doing was in effect praying. And suddenly I thought,
I believe you’re going to speak through your actions
more than anything. So I try to be the best person I
can be, and I try to be as compassionate as I can be. If
somebody needs help, man, you help them.”
LET’S TALK ABOUT THE FACT THAT THERE’S BEEN NO NEW MUSIC
FROM W.A.S.P. SINCE THE ‘GOLGOTHA’ ALBUM IN 2015. WHY?
“I’m working on a new record right now, but I’m paying
a physical price for that. I broke my right femur really
badly 10 years ago. It leaves my spine susceptible to
twisting, but as long as I do the exercises that I’ve been
prescribed I don’t have a problem with it. So I came
off the last US tour and started having some problems
with my back, but because I was working on this new
record, I was in the studio every day. And I neglected
the exercises, telling myself I’d get back to them after
the European run of shows. Well, halfway through those

48
dates it caught up with me big time, and I’m paying for – and that’s big shoes to fill. I know everything I’m going
it now. I’m in rehab right now. I was desperately trying to do now is going to be compared to every great song
to get this new record ready for release in August of this W.A.S.P. ever recorded. That’s what a new record goes up
year, but that’s not going to happen. We’re going to start against, every one of those memories, and that’s tough.
again in August, and so if I have to give a guesstimate I’d So quite honestly, any band that’s going to make new
say it will probably be the summer of 2024 before the music has to do so thinking heavily about their legacy.
record’s done.” If you’re going to do it, then you’re competing against
the ghosts of your past. And to even have a chance of
A LOT OF MUSICIANS OF YOUR GENERATION – YOUR OLD PAL GENE competing against the old stuff, a new record has to be
SIMMONS MOST NOTABLY – HAVE SAID THAT GIVEN THAT PEOPLE even better than that stuff. If you’re going to make music,
GENERALLY DON’T WANT TO PAY FOR NEW MUSIC, THEN IT’S NOT you need to know that your legacy is at stake, and you’d
WORTH MAKING ANY… better take the time to make sure that record is right.
“And I understand that. But at the same time there’s And that’s what I’m trying to do.”
another way to look at it. If you take the monetary thing
out of the equation, what would be the reason to make HAVE YOU EVER THOUGHT THAT MAYBE AT YOUR AGE YOU’VE EARNED
a record? It’s because maybe you have something to THE RIGHT TO SIMPLY PUT YOUR FEET UP?
say. Or maybe you don’t want to be thought of as a “I don’t understand retirement. It’s just not who I am.
legacy act. If you keep making music, then that makes Plus you hear stories about guys who work 50 years,
you relevant, keeps you current. Now on a practical level, and they drop dead a week after they stop. I’m not so
one of the greatest concerned about
things I ever did “ALL FANS SAY, ‘HEY, MAN, YOU GOT ANY NEW MUSIC? that, to be honest,
was build my own YOU GOT A NEW RECORD? I CAN’T WAIT TO HEAR NEW but why would
studio to make ‘The you want to stop
MUSIC.’ BUT FANS DON’T WANT NEW MUSIC. THEY SAY
Crimson Idol’. I still doing something
have it to this day, THEY DO BUT THEY DON’T.” you love? I don’t
and it’s my little understand that.
laboratory. It’s one of the greatest investments I ever We were in the dressing room a week before the last
made. I can go in there whenever I want, and it doesn’t European tour ended, and we were all talking about
cost me anything except paying for the engineers who going to 50 years. So long as God is putting breath in
come in and do their work. my body, then what’s the point in hanging things up?
“But even if it’s cost-effective to make new music, I’ll tell you a story. About 15 years ago I went to see BB
there’s another issue. All fans say, ‘Hey, man, you got any King, and I was sitting in the second row, literally right
new music? You got a new record? I can’t wait to hear in front of him. BB wasn’t 10 feet away from me, and he
new music.’ But fans don’t want new music. They say was sitting down on a chair. He said, ‘I’m 81 years old. I
they do, but they don’t. Because if they really wanted gotta sit down.’ But I listened to him sing and I swear I
new music they wouldn’t go to take a p*ss every time could hear BB singing acoustically louder than what was
a band plays a new song at a show. If a band’s been coming out of the PA on the side of the stage. That’s
around for 20, 30, 40 years, then that band’s fans have how loud he was singing. He sounded like a lion roaring
had their entire lives to romance those old songs in their up there. And all of a sudden I thought to myself, ‘That’s
heads, to fall in love with them. So whenever you do a what I want to be when I grow up. I want to be that man
new record, it’s just like being a new band coming out right there sounding as good as he ever did at 81 years
to open for a monster band that people know and love old! At the end of the day that’s what I’m aiming for!”

49
 FEATURE LYNYRD SKYNYRD

50
THE
STREET
SURVIVORS!
Lynyrd Skynyrd lost their only surviving original member this year when guitarist Gary
Rossington sadly passed. But the Southern rock giants, who are now led by original
frontman Ronnie Van Zant’s little brother Johnny, are determined to carry on taking their
timeless music to the people and delivering it in their inimitable style. In our giant, exclusive
18-page Skynyrd special, Howard Johnson talks to Johnny Van Zant, guitarist Rickey Medlocke,
and Ronnie’s widow Judy about the importance and the legacy of this legendary rock band…

51
 FEATURE SKYNYRD – JOHNNY VAN ZANT

THE FAMILY
BUSINESS
Johnny Van Zant
opens up on
his life and place
in Skynyrd’s
history…

52
“IT IS WITH OUR deepest sympathy and sadness that music alive. The records Skynyrd made were great, but
we have to advise that we lost our brother, friend, family Gary felt that in truth Skynyrd had always been about
member, songwriter, and guitarist, Gary Rossington, the live performance. Now we’re no young turkeys, no
today. Gary is now with his Skynyrd brothers and family spring chickens. But what I do know is that everyone still
in heaven and playing it pretty, like he always does.” loves getting out there and playing the music. We feel
When Gary Rossington passed away at the age of 71 like a family when we’re out there together, and we all
on 5 March this year, it really did mark the end of an era. want to go out there again and really give Gary his due.”
The man from Jacksonville, Florida was the last surviving
member of the Lynyrd Skynyrd line-up that recorded OF COURSE not everyone agrees that Lynyrd Skynyrd
the band’s seminal first album, 1973’s ‘(Pronounced should continue without any members from that all-
‘Lĕh-’nérd ‘Skin-’nérd)’. Frontman Ronnie Van Zant and important first album. To my mind that doesn’t really
recently added guitarist Steve Gaines had both perished take into consideration the fact that there were a number
in that awful air crash way back in October of 1977. But of line-up changes within the ranks in the days prior to
one by one, musicians from the first album – guitarist Skynyrd signing a major deal. But Johnny is nevertheless
Allen Collins, keyboardist Billy Powell, drummer Bob respectful of these views.
Burns, and bassist/guitarist Ed King – all departed. When “Since we made the announcement that we’re going to
Rossington died, the final link back to the first official be carrying on, I’ve looked at comments out there on the
recording of the most influential Southern rock band of Internet. Some of the older fans say ‘Oh, it should have
all time was broken. There has been plenty of tragedy ended’ and I understand that. They’ve seen the band in
associated with Lynyrd Skynyrd over the years, plenty the past and they’ve loved it. But what about the new
of death. But Gary Rossington’s departure seemed generations that love this music and want to hear it live?
particularly poignant, a watershed moment that could The band’s bigger than all of us. The music’s so strong
easily have signalled the end of Lynyrd Skynyrd. and it’s been around for generations. If we were doing this
“When Gary passed, thing really badly, Howard,
my first thought was that “GARY WAS OUT THERE CARRYING THE LEGACY phoning it in, then I’d walk
maybe it really was the FOR RONNIE AND ALLEN, FOR BILLY AND away in a minute. But I don’t
end of Lynyrd Skynyrd,” think it’s like that because
admits frontman Johnny LEON, AND FOR ALL THOSE GUYS FOR SO you can see and feel that we
Van Zant when he calls MANY YEARS OUT OF RESPECT FOR WHAT still enjoy getting out there
me from his Florida home. and we see so many people
THEY DID. NOW I THINK HE DESERVES THE
“Particularly because this getting so much pleasure
isn’t my first boat ride on SAME KIND OF RESPECT FROM US.” out of it. There are people
people dying. When Billy who follow us around from
passed [in 2009] and when Leon [Wilkeson, an early town to town because they love the music so much. That
Skynyrd bassist who came back into the fold shortly really means something to me, because I still can’t believe
after the debut album] passed [in 2001] we talked about I’m living this, especially as I never really wanted to be in
ending the band but decided against it. But with Gary Lynyrd Skynyrd in the first place. That was never my goal.
being who he was, the last surviving member of that first It was always Ronnie’s band, and it always will be Ronnie’s
album line-up, when he went I really felt that was it.” band. Nobody can do what Ronnie did better than Ronnie,
Fortunately for those of us who just can’t get enough and over the past 36 years I’ve never tried to do what
of Skynyrd’s distinctive blend of hard rock, R&B, and Ronnie did. I just went, ‘Hey, I’m Johnny and I’m going to
blues, Rossington’s widow, Dale Krantz-Rossington, had go out there and do the best I can.’”
something to say about that.
“Gary’s wife really sealed the deal,” confirms Johnny. OF COURSE it was never Johnny Van Zant’s intention
“Dale has been singing backing vocals with Skynyrd for to be singing in Lynyrd Skynyrd. How could it be? When
years and years, ever since the Tribute Tour that brought the band first changed its name from The One Percent to
the band back together in 1987. And when Gary died, Leonard Skinnerd back in 1969, he was just 10 years old.
Dale said to me, ‘This is what Gary did and he would “I was around them when I was just a little kid,” he
want you guys to carry on.’ So now more than ever I want laughs. “And what was funny was that because my dad
to continue. Gary was out there carrying the legacy for wanted me to be a good, upstanding citizen, the guys in
Ronnie and Allen, for Billy and Leon, and for all those guys the band were never allowed to cuss or talk trash around
for so many years out of respect for what they did. Now I me. They couldn’t even smoke cigarettes! They used to
think he deserves the same kind of respect from us.” rehearse in my parents’ living room and I thought they
were good. But of course I didn’t know they’d go as far
GARY’S DEDICATION to the Skynyrd cause is all the as they did, and that the music would stick around for so
more remarkable for the fact that his health hadn’t long. They didn’t think that either. It was never ‘LYNYRD
been the best for quite a while. In October of 2015 SKYNYRD’ to me. It was just a bunch of guys playing
he’d suffered a heart attack and he’d even undergone music. Ronnie was never ‘Ronnie Van Zant of Lynyrd
emergency heart surgery in July of 2021. Skynyrd’ to me. He was just my brother.”
“For the last couple of years Gary hadn’t been playing According to Johnny, singing was as natural as
every show with the band because of his health issues,” breathing in the Van Zant household.
Johnny clarifies. “He’d come out to odd shows, play three “All of us sang. There were three boys – Ronnie,
or four songs with us, just as much as his health would Donnie, and me – and three girls – Joanne, Darlene,
allow. But he and I talked every day. We talked about and Marlene – and we would all sit on the swing set
how long the band should go on for and he had a theory. that we had out front of the house and spend a lot of
[Southern legends] The Allman Brothers had stopped. time singing. Our dad, Lacy, was a long-distance truck
[Musical inspiration] Charlie Daniels was gone. That driver, and he was always listening to country music.
weighed on him. He wanted Skynyrd to keep this type of He’d take us on a bunch of runs with him and we’d

53
 FEATURE SKYNYRD – JOHNNY VAN ZANT
hear music on the radio The big Skynyrd wheels
all the time. So music was started turning pretty
something that was natural quickly after the phone rang.
for us and something that “I got the call on a Friday
made us feel good. I guess night,” Johnny explains.
luckily for us boys it kind of “And there was a big
developed into a career.” meeting planned for the
Not that Johnny ever following Monday at a
thought in the early days place called Baymeadows
he’d use his voice to make here in Jacksonville. I told
a living. Gary that I’d come over
“I swear I didn’t,” he and talk to everyone, but I
laughs. “I just fell into it. didn’t go alone. I went with
Originally I wanted to my dad and my brother
be a drummer because I Donnie. All through that
liked hitting things! But weekend there had been a
everybody was kinda like, lot of talking amongst the
‘No man, you gotta come family members. Everybody
out front and sing.’ But I was heartbroken when the
was so shy. I liked being at plane crash happened and
the back. I only did music Ronnie passed, of course.
as a hobby at first. We Skynyrd had never been
played music the same way just a band. It was always a
we played football. None family – and that family had
of us ever said, ‘OK, this is been badly hurt. So to have
going to be my career.’” the opportunity to make
Much-missed Skynyrd guitarist Gary Rossington
it somewhat happy again
ALL THE same, by 1980 The was a big thing. My initial
Johnny Van Zant Band had thought was that maybe
signed to Polydor Records “GARY AND I TALKED EVERY DAY. HE WANTED my brother Donnie would
and had released an album, be the right man for the job,
‘No More Dirty Deals’. SKYNYRD TO KEEP THIS TYPE OF MUSIC ALIVE. because the reunion tour
“They were good days,” THE RECORDS SKYNYRD MADE WERE GREAT, that was being talked about
he tells me. “And that was was supposed to be for just
BUT GARY FELT THAT IN TRUTH SKYNYRD HAD
where I learned to be a six weeks. But Donnie was
frontman. We worked our ALWAYS BEEN ABOUT THE LIVE PERFORMANCE.” hitting it big with his band
butts off in that band and 38 Special at the time, so he
opened for the Commodores, Lionel Richie, Rod Stewart, wasn’t available. At the meeting with all the guys, Donnie
Foreigner, anybody who was anybody back in the ’80s. I gave us all his blessing, so we decided to organise some
was a professional opening act.” rehearsals and see how things went.”
Johnny’s band released a further three albums As it turned out, the experience was transformational
between 1981 and 1985, but never achieved anything like for Johnny – and for the five members of the pre-crash
the commercial success Skynyrd had enjoyed. band who were involved: Gary Rossington, Billy Powell,
“And to be honest, I started hating the music business,” Leon Wilkeson, Ed King, and drummer Artimus Pyle.
he admits candidly. “I was on Geffen Records at the time, Allen Collins was paralysed after an awful car crash in
and they wanted me to shave my beard off, curl my hair, 1986 and would only be able to contribute to the reunion
do things that didn’t come natural to me. Finally I just as music consultant, appearing on stage simply to warn
said, ‘You know what? I’m gonna go get a regular job. the audience of the dangers of drink and drugs that had
Maybe this isn’t for me.’” played a part in his car crash.
He may have been disillusioned with the music “To be able to play with those guys and sing those
industry, but Johnny still kept writing songs. songs, to see the smiles on their faces, was just amazing.
“And I would go to Nashville periodically to demo Music is a great healer. You know Howard, my faith is
some tunes. I got a kind of a side deal with BMG as great and good, but it’s my faith in music that has gotten
a writer, and had a friend who knew [co-founder and me through some dark times in my life, dark times that
president of Atlantic Records] Ahmet Ertegun. Now this revolved around drink and drugs, and losing people. It was
friend told me he thought Ahmet would love what I was thanks to music that I saw a lot of healing back in 1987.”
doing, but I really wasn’t super interested. I didn’t really
want to be an artist again. But Ahmet came to see me TO BE fair, healing might be a relative term here. The
and signed me on the spot in 1987. And then four days reunion tour was a great commercial success and spawned
later Gary Rossington called me and said, ‘Hey, we’re a powerful live album, 1988’s ‘Southern By The Grace Of
going to be doing this Skynyrd tribute thing and we want God’ that featured an introduction from the Van Zant’s
you to be a part of it.’ I remember saying, ‘Wow, I’ve just daddy Lacy, and a guest vocal contribution on ‘Call Me The
had a hell of a week, haven’t I?!’ I went from really not Breeze’ and ‘Sweet Home Alabama’ from Donnie Van Zant.
wanting to do anything to suddenly everybody wanting But it also led to lawsuits from Ronnie’s widow Judy, and
me. I said, ‘I don’t know what I did, but thank you Lord!’” Steve Gaines’s widow Teresa. In the end a settlement was

54
 reached whereby both women would be entitled to a
percentage of the band’s future touring revenues.
For his part, Johnny went on to release a solo album,
‘Brickyard Road’, on Atlantic in 1990.
“And it was very successful for me at the time. But I
had to make the choice as to whether I was going to
continue with my own solo stuff or work with Skynyrd.
At the end of the day, my heart was in Skynyrd and I’m
glad it was.”
Johnny threw his lot in with his older brother’s baby,
but his contribution to the cause didn’t begin and end at
the vocal mike.
Lynyrd Skynyrd photographed in 1974. L-R: Allen Collins (guitar), Leon Wilkeson (bass), Billy Powell
(keyboards), Gary Rossington (guitar), Bob Burns (drums), Ronnie Van Zant (vocals), Ed King (guitar)
“When we stopped at the end of the reunion tour it
was almost as if the family had broken up,” he explains.
“I don’t think anyone enjoyed that feeling, so when
Gary said, ‘Man, I’ve got a bunch of song ideas, let’s try
to write some stuff together’, everyone was excited.
Fortunately Ahmet Ertegun was also excited about the
prospect of new music from Skynyrd, and because I
knew him I managed to get him to sign the band for
what turned out to be the ‘Lynyrd Skynyrd 1991’ album.
“It was real interesting how people reacted to us
coming up with new stuff at that time, Howard,” says
Johnny. “Lots of folk wanted to add some kind of
competitive element to things. ‘Oh, you guys have got
Photos: Timeless Images/Bill O’Leary; IconicPix/MM-Media Archive
to write another ‘Sweet Home Alabama’ or another
‘Free Bird’. But we never went into the project with that
attitude. You can never rewrite ‘Sweet Home Alabama’.
You can never rewrite ‘Free Bird’. Those were timeless,
God-given things that the guys did back then. So we just
started writing. Didn’t really know what we were doing,
just had fun doing it like a bunch of kids in a garage. We
had an old rehearsal hall in a place called St. Augustine,
right outside of Jacksonville. We spent a good few days
down there messing around and laughing and carrying
on – and suddenly we had an album’s worth of material.
And then we got Tommy Dowd, the legendary Tommy
Dowd, to come in and produce.”
Dowd was idolised by the original Skynyrd line-up and
had produced both 1976’s ‘Gimme Back My Bullets’ and
the last album before the plane crash, ‘Street Survivors’,
the following year.
“So we went to Memphis and recorded in January
and February of 1991,” says Johnny. “Looking back on
it we sure had a good time, but the furthest thing from
our minds was trying to write another ‘Sweet Home
Alabama’. We weren’t about trying to do a copy of the
old Lynyrd Skynyrd, because you can’t recreate stuff like
that. I’ve had people say to me, ‘Oh, you need to wear a
hat, Johnny, and be like Ronnie.’ Listen, I’m not Ronnie.
For me, Ronnie was Babe Ruth and Mickey Mantle in the
world of rock. Me? I’m just Johnny.”
ASK JOHNNY what originally made Lynyrd Skynyrd so
special, and he’s quick to shoot back a response.
“I think the lyrics are a big part of it. Ronnie was
a master at throwing in simple lyrics that people
understood and loved, and that really hit them in the
heart. Being simple and effective as a writer is a hard
thing to pull off, but Ronnie really was a poet of the
common people. But of course the music was special
too. I always thought it was real different. Gary and Allen
definitely had their own thing as guitar players. The way
they intertwined their individual lines was really quite
something. And everything was so beautifully enhanced
by Billy Powell’s keyboards. He could play honky tonk,
he could play classical, he could play the prettiest
things. And then there was the attitude the band had.
Everybody loves a rebel, and Skynyrd had that vibe and
that spirit in abundance. Their way of looking at the
world was, ‘Hey, we love you. But if we’re mad at you
then we’re gonna beat the hell out of you.’ That really
came through in the music, and when everything came
together it made for a very special thing. And the end
result was a bunch of songs that will live on forever.”
Of course it’s easy to reel off a handful of Skynyrd
songs that can only be described as rock classics, from
the big hitters like ‘…Alabama’ and ‘Free Bird’ right
through to more obscure but no less brilliant tunes such
as ‘The Ballad of Curtis Loew’ and ‘On The Hunt’. But I’m
intrigued as to which of the many Skynyrd greats Johnny
feels most attached to when he’s on stage singing them.
“I would say ‘Simple Man’. And once again, Howard, I
have to emphasise that I can never sing the songs like
Ronnie did, because he was the writer of those words.
But what words they are in that song! If you talk to a
55
 FEATURE SKYNYRD – JOHNNY VAN ZANT
good person, they’re gonna love their mom, right? And
if they love their mom, then they’re gonna listen to their
mom, aren’t they? My dad told me things and I would
be like, ‘OK, sure.’ But if mama told me something,
then it really hit home with me. I think that respect for
your mother applies not only guys, but to girls too.
Emotionally speaking, ‘Simple Man’ is probably as big
as ‘Free Bird’, or ‘Sweet Home…’ or any of those songs. I
think people really gravitate towards ‘Simple
Man’. I know I do.”
Johnny insists that these songs aren’t
yellowing with the passage of time either.
“Whenever we play, I can tell you that
there’s every generation there watching us,”
he says. “There are the old ones who’ve been
there forever, but there’s every other age
group too, people in their 40s, 30s, 20s. I
always equate a Lynyrd Skynyrd show with a
game of football here in America. When we’re
playing the amphitheatres here, people like
to get to the parking lot early to start grilling
out. They’ve got their barbecues and they’ve
got their cornholes [a popular game in the
States that involves throwing bean bags
through a wooden board with a round hole in
it], and they’re all out there. It’s a family affair
and it really is an amazing thing.”
JOHNNY’S FREQUENT mention of family,
both in the context of the band itself and the
people who come to watch them, hints at an
inclusive attitude that feels very much like the
antithesis of those ‘oh so remote’ ’70s rock
stars. Sounds like the singer really has listened
carefully to the words of ‘Simple Man’.
“I was never interested in that whole ‘rock
star’ thing,” says Johnny. “For me the only
stars in the world are the ones that are up in
the sky. I’d say I’m a pretty regular person. I
lived in California for a while and that really
wasn’t for me, so I moved back to Florida a
long time ago and bought some land. I still
live in the same home I built all those years
ago. At one time my management said it
would be a good idea if I moved to Nashville,
because they could get me this opportunity
and get me that work. I told them I already
had enough and that I was good where I was.
I enjoy driving a truck, I’ve got some horses, and I don’t
mind getting dirty looking after them. I like doing normal
stuff, and to tell the truth I get kind of get embarrassed
when people make a fuss over me. I’d like to think that
all of us in the band are the same way. I take out my own
garbage, I appreciate my family and my grandkids. We
play music, and it’s very special to be able to do that, but
I don’t think of myself as special.”
Humility as people and an attachment to their
Southern roots has always been a part of the Skynyrd
DNA. But much has changed in the world since the
original band’s 1970s heyday, as people have reappraised
American history and Confederate involvement in the
subjugation of black people via the slave trade. Skynyrd
proudly flew the Confederate flag back in the day. I
wonder how the band navigates this difficult issue today.
“Listen,” says Johnny. “We always want to respect
56
people. I don’t think Lynyrd Skynyrd ever deliberately
disrespected anybody. It was more about being proud of
where we were from, grits and collard greens, you know?
But some bad people have jumped on the Confederate
flag and used it for bad purposes. I’m gonna tell you
straight, Howard. That flag doesn’t bother me, but if
it bothers somebody else, well I’m not here to insult
anybody. So we really don’t use it anymore. I’m here to
make you smile and listen to music. I’m proud
to be a Southerner, and I love the way we
live our lives, but I don’t like those racist
connotations. Some of my favourite singers,
guys like Ray Charles and Muddy Waters, were
black men. I wouldn’t want to offend anyone.
There were some bad times in America
and some people associate that with the
Confederate flag. So for me, the only flag I live
by is the flag of the United States Of America.”
MUCH HAS changed in the United States
since Lynyrd Skynyrd first became successful,
and yet the band’s appeal remains undimmed.
So much so that the group are once again
playing US arenas this summer.
“Gary knew all about the plans before he
passed,” says Johnny. “We were just starting
to get our feet under the table with the idea
of going out with ZZ Top, though of course
Gary’s death knocked us sideways. But I know
exactly what Gary would have said under the
circumstances. Anytime anything difficult
happened, Gary would put his boots on, strap
on his pistols and say, ‘Let’s go boys!’ That’s
what we’ll be trying to do on this tour – to go
out and honour Gary. To be able to do that
with our good friends in ZZ Top is special.
Their fans and our fans are a perfect match.
“It is amazing that Skynyrd fans have
stuck with the band over so many years,” he
continues. “Like any group, nobody knew how
things would go when Skynyrd first started
out. I always tell any new artists to enjoy the
ride but to save their money, because you
never know if your fans are going to outgrow
you. The fact that Skynyrd’s fans are still there
is incredible.”
Johnny is happy to confirm that he still
listens to the old Lynyrd Skynyrd albums “all
the time. I was a fan of the band, and I loved what they
were doing. So sure I go back and listen to the songs for
pleasure. My favourite album is ‘Gimme Back My Bullets’.
It definitely wasn’t one of Skynyrd’s better-sounding
records, but the songs were so good that they didn’t
even have to sound that great. I always thought that
Skynyrd were like the Rolling Stones in that way. You go
back and listen to the Stones albums and it’s true that
they really don’t sound too good. But man, the songs are
so awesome that it really doesn’t matter. And that’s why
for me Skynyrd has always been about performing live.
The records were great, of course, but you have to come
see a Skynyrd show to get the full experience.”
OF COURSE the band’s hell-raising days are long behind
them now.
“We don’t participate in all the bad stuff anymore,”
says Johnny. “You come backstage at one of our shows live concert film of Gary Rossington’s last performance
these days and it’s bottled water and Diet Coke,” he with the band.
laughs. “Sometimes we go off the deep end and have “That show took place on 13 November 2022, and what
some M&Ms thrown in!” made it special was the fact that it was in a venue, the
But given the amount of death and tragedy that Ryman Auditorium in Nashville, that everybody knows
Skynyrd has suffered over the years as a result of hard as ‘The Church Of Country Music’. We had lots of special
living this is hardly surprising. guests that night. Brent Smith from Shinedown sang
“I’m sitting here in my sun room talking to you, Howard, with me on ‘Simple Man’ and [hot rapper turned super-
and I wish I could rewrite the Lynyrd Skynyrd story,” successful country artist] Jelly Roll did ‘Tuesday’s Gone’.
Johnny admits. “Of course I wish that all the guys we’ve My brother Donnie sang with me too that night. Rickey,
lost could be here, but I don’t question the Good Lord’s Gary, Donnie, and I were all together in a really small
plans. My brother Donnie and I did a country album years dressing room and we were just like little kids telling
ago [2005’s ‘Get Right jokes, telling old stories. We
With The Man’] and one of had a wonderful time, and
the songs on it was called I’m so glad Gary was still
‘Help Somebody’. There around to enjoy that night.
was a line in the song that He played his butt off, and
goes ‘If you want to make it was a special evening
God laugh, tell him your for me. So for that to be
plans.’ And that’s the thing. coming out is great and I’m
It ain’t your plan. My faith sure the fans will love it.”
makes it easier to deal
with the tragedies. We WHAT MAKES both the
were raised in a Christian film and this current Lynyrd
family, and our dad Lacy Skynyrd tour so special,
really should have been of course, is the fact that
a preacher because he nobody knows how much
sure knew the Bible back longer this seminal band
and forth. He never forced will be around for. And
anything on us, but he did while there may be no
tell us about it, which was “IT WAS ALWAYS RONNIE’S BAND, AND IT original members left,
a good thing. I lost my ALWAYS WILL BE RONNIE’S BAND. NOBODY surely nobody can argue
daughter to cancer five against the legitimacy
CAN DO WHAT RONNIE DID BETTER THAN
years ago, but fortunately of the current line-up.
I’m a true believer and I RONNIE, AND OVER THE PAST 36 YEARS I’VE Not when the Van Zant
believe I’m going to see NEVER TRIED TO DO WHAT RONNIE DID. I JUST bloodline is represented by
everybody again. I just Johnny, and longstanding
WENT, ‘HEY, I’M JOHNNY AND I’M GOING TO
figure they all got there guitarist Rickey Medlocke
before me and hopefully GO OUT THERE AND DO THE BEST I CAN.’” played drums in the band
they’ll all be waiting on me way back when, between
when it’s my time. My faith 1971 and 1972. Medlocke
is deep and I’m real proud of it. My brother and I live even appears on a set of demos recorded at the famous
right next door to each other. We’re not only brothers, Muscle Shoals studios in Sheffield, Alabama in ’71 and ’72
but we’re also best friends. We’ve written a whole gospel that eventually emerged in 1998 as ‘Skynyrd’s First’.
album together, so hopefully we’ll find a home for that “Rickey and I have been together for so long now,”
and have it out one day.” agrees Johnny. “And we still love getting out there
Lynyrd Skynyrd’s last studio album, ‘Last of A Dyin’ and playing the music. I call us The Grateful Dead
Breed’, was released way back in 2012. But Johnny has of the South! [Drummer] Michael [Cartellone] has
good news for those who are desperate for new music been in the band since 1999; [guitarist Mark] ‘Sparky’
from the band. [Matejka], [keyboardist] Peter [Keys], and [bassist] Keith
“Gary was the king of cassettes,” he laughs. “Before he [Christopher] have been with us for many, many years.
had his last heart attack, we were thinking about doing a So it really is a family. The music is so strong, and we all
new record and had been working on songs together. We know that the band is bigger than all of us, which I think
even cut a number called ‘Last Of The Street Survivors’ is the ultimate strength of Lynyrd Skynyrd.”
[that was released in 2020], but we had a lot more stuff Before I finally let Johnny go, it seems fitting to ask
that we were working on. Most of us would come in with him what the 10-year-old Johnny Van Zant watching his
our iPhones, but Gary was old school. He always came in big brother’s band rehearsing all those years ago would
with a cassette recorder! I didn’t even know you could get have said if someone had told him that he’d be fronting
hold of something like that! So we had a bunch of songs Lynyrd Skynyrd himself in 2023 and at the age of 64. The
written, but they hadn’t been recorded properly, even singer lets out a big, deep, heartfelt laugh.
though we planned to do so. For some reason, [guitarist] “I’m sure I wouldn’t have believed them. And of course
Rickey [Medlocke] and I never recorded the songs on our I’m thrilled to be doing it, but I really wish that it was still
phones. So I’m going to talk to Gary’s widow, Dale, and my brother running this band. Maybe I could have been
see if I can get hold of those cassettes he made. Who his assistant running on to wipe his brow for him. I would
knows? Maybe we can get to record a few of those songs have been more than happy doing that! But when it’s
in Gary’s honour. It would be a great thing to do.” all over, I hope that one day I can sit on my front porch
It would indeed, though in the meantime fans will be smoking a big cigar, taking a shot of whiskey, and think
able to enjoy The 50th Anniversary Of Lynyrd Skynyrd, a to myself, ‘Wow. Lynyrd Skynyrd. Didn’t we do a lot?!’”

57
 FEATURE SKYNYRD – RICKEY MEDLOCKE

58
HONOURING
THE NAME
Two-time Skynyrd member Rickey Medlocke is determined to keep this band’s music alive…

RICKEY MEDLOCKE HAS BEEN playing guitar in Lynyrd

Skynyrd for more than 25 years, since 1996 when original
member and guitarist Gary Rossington called him to say
that he was looking to replace Mike Estes. But what’s
truly unique about the 73-year-old in the history of
wanted to finish my career. This is how I wanted to do it.”
With Lynyrd Skynyrd now back on the road again in
the wake of Gary Rossington’s untimely death earlier this
year, Medlocke is only too aware of how essential it is to
safeguard the reputation and legacy of the band.
this legendary band is that Medlocke had already been “It’s hugely important for me, for [vocalist] Johnny
there once before – albeit sitting behind the drum stool. [Van Zant], and for the rest of the group to honour
Medlocke hails from the same city – Jacksonville, Florida Gary’s memory,” he says. “When I came back into the
– where back in the ’60s the members of Skynyrd first band I promised Gary that I’d be here until the last note
started making music in bands such as Me, You And Him, of ‘Free Bird’ was struck for the last time – and here I am.
My Backyard, Conquer The Worm, The Noble Five, and I loved the guy. I’d known him for so long, since he was 15
The One Percent. In 1971, Rickey joined what had become and I was 16 and we were both playing the teen clubs in
Lynyrd Skynyrd as a second drummer alongside Bob Florida. We were from the same side of town, and when
Burns, and stuck around until everything finally came down
the following year. During that “WHEN I REALLY GET NEXT TO THE TUNES and Gary passed it broke my
time he recorded numerous heart. It’s only now that I’ve got
I CAN SIT THERE, LET THE MUSIC FLOW
eventually-to-be-legendary to the point where I can talk
demos with the band at Muscle THROUGH ME, AND JUST DO IT.” about it and think about the
Shoals Studios in Alabama good old days and all the good
before opting to leave to pick up the guitar again in a times we had together. So it’s very emotional for me to
reformed Blackfoot, the group Medlocke been trying and get up on stage and play, and to look across and not see
failing to get off the ground prior to throwing in his lot Gary doing his thing. But I believe it’s important to keep
with Skynyrd. Skynyrd’s music alive and not let it just fade away. It’s
Blackfoot went on to become one of the nearly groups important for all of us to honour the memories of all the
of the Southern rock scene. Their third album, 1979’s other guys who went before us in this band. I’m just very
‘Strikes’, was the best performing of the band’s 11 studio proud and very honoured to be doing that.”
albums, reaching number 42 on the US Billboard charts.
It was certified platinum fully seven years later in 1986, HOW DIFFICULT A DECISION WAS IT TO KEEP LYNYRD SKYNYRD
but by then Blackfoot’s star had already begun to wane GOING AFTER GARY’S DEATH BACK IN MARCH, RICKEY?
in the face of the onslaught of AOR and hair metal. Two “Well firstly, I wholeheartedly believe that Gary didn’t
ill-advised albums, 1983’s ‘Siogo’ and 1984’s ‘Vertical want to see the music come to an abrupt end. Given
Smiles’, saw the band abandon their ‘Southern meets some of the things he said to me and Johnny over the
hard rock’ style in favour of unconvincing watered-down last couple of years of his life, I know he would have been
AOR. Of course, Blackfoot’s fans saw right through that very disappointed if we’d simply stopped without giving
particular ruse and voted with their feet. it a second thought. Plus Skynyrd has become firmly
With his career in the doldrums, the call to try out for embedded in rock history alongside the Rolling Stones,
Lynyrd Skynyrd couldn’t have come at a better time for Aerosmith, and AC/DC… bands like that. There aren’t too
Rickey Medlocke. many of us left now, so that’s another incentive to keep
“I’m so happy with the way things worked out and the fires burning. But even so, carrying on was still a
where I ended up,” he tells me now. “This is the way I difficult decision to make.”

59
 FEATURE SKYNYRD – RICKEY MEDLOCKE
DO YOU SEE PLAYING MUSIC AS PART OF THE HEALING
PROCESS AFTER YOU LOSE SOMEONE YOU LOVE?
“Oh, absolutely. I’ve often said that if everybody in this
old world loved music the way we do, then the world
would be a much better place to live in. I believe music
heals all wounds. I know that after we’d had the church
services for Gary, I got back home, and everything was
quiet in the house. I put on some music that I love to
listen to, and it just made all the difference in the world. I
thought about all of our stories, and of all the things that
Gary and I had gone through together, and the music
made a world of difference. Music is a very healing tool,
and it always has been for us. Even when Gary wasn’t
healthy enough to do 80-100 shows a year like we used
to do, we knew, and he knew, that he couldn’t just quit
altogether. So we were
going to pull back from
such heavy touring and
were going to do special
things and maybe some
residencies. But then COVID
hit and we were off for 15
months, and by the time we
started to come out of that
Gary had succumbed to
further heart problems and
some other further physical
issues. Fortunately, we
were able to bring Damon
Johnson in, and Damon
was really honoured to get
asked to participate. Gary
took to Damon really well
and was happy that he was
with us. And it was great
when Gary felt he had the
strength to show up once in
a while and play ‘Alabama’
and ‘Free Bird’ with us.”
YOUR OWN PLACE IN SKYNYRD HISTORY IS ASSURED GIVEN
HOW LONG YOU’VE BEEN ASSOCIATED WITH THE NAME NOW…
“And Gary was very gracious when he told me that
even though this is my second go around with the
band, he always considered me an original guy. To be
honest, I think he was right about that. When I joined
the band back in 1971, we signed a management deal,
and production and recording agreements, and those
agreements were all under the group heading of Lynyrd
Skynyrd with individual band members named as
Ronnie Van Zant, Gary Rossington, Allen Collins, Bob
Burns, Larry Junstrom [the bass player who would go
on to make his name with 38 Special] and myself. We
all signed those contracts. I was involved in the writing
of six of the songs that appeared on the Muscle Shoals
recordings, and I sang four of the vocals on there, so all
that doesn’t make me feel like arguing the hows and the
whys of whether I’m an original guy. I just know what
happened, and so do other people. And if you don’t trust
Gary’s word, then I don’t know what to tell you.”
TAKE US BACK TO THOSE EARLY DAYS. WHAT WAS THE VIBE
IN THE BAND LIKE AT THAT TIME?
“You know what, man? I truly felt at home. I had a great
time with those guys, and the camaraderie was definitely
60
there. As a band we were just badass every time we
rehearsed. I’d sit there watching Ronnie coming up
with his vocal melodies, and Gary and Allen coming up
with guitar stuff… You just knew that greatness was all
around and that the band was going to do something.
Did I really know to what extent it was going to go on to
greatness? No. Nobody ever knows. But I certainly knew
something would happen.”
SO WHY DID YOU LEAVE IN 1972?
“Well first of all it wasn’t a snap decision. I’d thought
about it, and I knew what I was doing. Some people
know this, some don’t, but I had a serious respiratory
condition. Now the guys loved me being their drummer.
They thought I was really laid in the pocket, and that I
played exactly what the
band needed. But when
you’re a drummer you need
stamina. You need to be
able to take in enough air
to be able to keep up. After
a lot of soul-searching I
decided that I was short-
changing Ronnie and the
guys. I thought they needed
someone better than
me. I thought they didn’t
need somebody good.
I thought they needed
somebody great to keep
things rolling and to take
the band further. When I
decided that I was going to
move on and put Blackfoot
back together again, my
Grandaddy Shorty spoke
to me. He knew the guys in
Skynyrd pretty well and he
said to me, ‘They’re quite
a band. That band leader
Ronnie has something very special about him. So if you
leave this band and they go on to do something great,
then you’ll have to live with that for the rest of your life.
But it looks to me like you know deep down inside that
you’re really going to do something special yourself, so
make your decision and live with it.’ And that’s exactly
what I did. I went with Blackfoot, and was with that band
for many years. I never regretted leaving Skynyrd and I
was happy for the success the guys had. I had a great
run with [drummer] Jakson [Spires], [bassist] Greg [T.
Walker], and [guitarist] Charlie [Hargrett] in Blackfoot
and we played some incredible shows, especially in
Europe. And it was too bad, because at a time when
the band was really starting to break big over there, the
business got in the way, and it all fell apart. But that’s all
water under the bridge now. Now I’ve been with Lynyrd
Skynyrd for a collective total of 30 years and I’m very
happy with where I ended up.”
DID YOU CROSS PATHS WITH SKYNYRD IN THE YEARS WHEN
YOU WERE IN BLACKFOOT?
“I sure did. The guys really took to my Grandaddy Shorty,
and sometimes I’d take him over to see them. Ronnie
dedicated the ‘Nuthin’ Fancy’ record to Shorty, and the
song ‘Made In The Shade’ was inspired by him. When I
was in the band Shorty used to say, ‘You guys keep going ‘Highway Song’, which I thought would be good to do.
the way you are, and you’ll have it made in the shade.’ So I said I’d go out there with an acoustic guitar and play
Strangely enough, I took Shorty over to see the guys at the song right by myself. [Country rock legend] Charlie
their studio right before they left to go play the shows Daniels introduced me by asking the people to give a
in October of ’77 that were the last ones they did before warm welcome to Rickey Medlocke from Blackfoot. The
the plane crash. Ronnie said to me, ‘Hey Rickey. If you audience stood up straight away and I went out in front
want to come ride with us for a week or so we’ve got of that crowd and played the song.
our own plane. You could come along, hang out, jam, do “Now Gary was standing at the side of the stage
whatever you want to do.’ And I was going to do it, but together with Skynyrd’s manager and my manager. And
two days before they left, Blackfoot got a run of shows their manager looked over at my manager and said,
for about two weeks, so I couldn’t go. I always felt kinda ‘Gary’s been talking about getting Rickey back into
guilty about how things worked out. Had I gone along Skynyrd for many years now. Looking at this right now
on those dates, would things have turned out differently we’ve got to make it happen.’ So my manager said that
somehow? But when I re-joined Skynyrd in 1996, we were they should give us a call.
on our first European tour the following year and I sort “My manager and I stayed on, and we saw the movie
of confessed to Gary that I’d felt guilty for many years the next day, said our goodbyes and I stayed in touch
about what had happened. And Gary looked me in the with Gary on and off through January and February
eye, and he of ’96. My
said, ‘Rickey, manager
the thing is, stayed in touch
you weren’t with their
meant to be manager as
there then. You well, but come
were meant to March nothing
be here now.’ had really
And that’s transpired,
always stuck and I’d pretty
with me much given up
ever since.” on getting the
call. I was kind
SO HOW of bummed
EXACTLY WAS out about it,
IT THAT YOU thinking that
ENDED UP BACK I’d have to
IN SKYNYRD IN go back out
1996, 24 YEARS playing shows
AFTER YOU with these
FIRST LEFT? other guys in
“Well I was at Blackfoot. And
a point in my then one day I
career where was sitting in
I was at a the recording
crossroads, studio that I
trying to owned with my
figure out what to do next. manager and another partner
The Blackfoot line-up had “SOMETIMES I CLOSE MY EYES WHEN WE in Fort Myers in Florida. We
changed, and while I put PLAY LIVE, AND I SWEAR UP AND DOWN had one of those old-style
groups together that really answering machines there
killed it – and I mean really
THAT I’M LISTENING TO RONNIE SINGING.” that had a tape in to record
killed it – I put out a couple messages and play them
of records on independent labels and radio didn’t pay back. Well that day the answering machine said I had
them any attention. So I was at a point where I was really two messages. The first was from a buddy of mine, but
unhappy when, in December of 1995, I got a call from the second was from Gary. ‘Hey brother Rickey. Gary
Ronnie’s widow Judy. She said, ‘Look Rickey, I’m calling Rossington here. I want you to learn ‘I Ain’t The One’,
to invite you up to Atlanta, Georgia. We’re premiering ‘Saturday Night Special’, ‘That Smell’, and ‘Free Bird’.
Freebird: The Movie at the Fox Theatre and we’re having And when you’re ready, I’m going to come down and
an All Star Jam the night before. The guys would love to audition you for Lynyrd Skynyrd. And if you pass the
have you there to play with them.’ Straight away I said audition I’ll give you a dollar fifty and a Snickers bar!”
that I’d be there, but the problem was that I had my own And I just had to laugh.
shows booked. I knew that cancelling them would make “So I called Gary back and said, ‘Gary. I’m thrilled about
the guys I was playing with unhappy people, but I had to this.’ He said, ‘Rickey, I don’t have Allen anymore, and
do what I had to do. you’re about as close a thing as I can get to him, and
“So I went to Atlanta that month and saw the guys I want you to work out all his parts.’ I said I pretty well
for the first time in many, many years. On the night of knew what Allen played already, but I went home, set up
the sold-out show, I went out and sang ‘I Ain’t The One’ a little amp, got my CD player together, and when I had
with Johnny and then we played [the Blackfoot song] it all figured out Gary rolled in with his entourage. They
‘Train Train’. They wanted me to do another number, came to my home and Gary immediately saw that I
but we didn’t have time to learn [Blackfoot number] had my own reverse body Gibson Firebird guitar just

61
 FEATURE SKYNYRD – RICKEY MEDLOCKE

Rickey, Johnny Van Zant, and Gary Rossington onstage together. “It’s hugely
important for me, for Johnny, and for the rest of the group to honour Gary’s memory.”

like Allen had played. Gary said, ‘God, you even play the looked over at [keyboardist] Billy [Powell] and [bassist]
same guitar.’ I said, ‘Yeah, I’ve got this, and I’ve got an Leon [Wilkeson]. They said, ‘Wow bro, that was great.’
Explorer same as Allen – been playing them for years.’ And we were off and running.”
And so we sat down, and I put ‘I Ain’t The One’ on the
CD. I played all the way through note for note, and right CAN YOU EXPLAIN WHAT THE MAGIC OF THOSE SKYNYRD
at the point when the last vocal of the last verse comes SONGS IS WHEN YOU PLAY GUITAR ON THEM?
in, Gary reached over and he hit the stop button. I just “Oh they just have this vibe about them, this natural
kind of looked at him and he said, ‘Man, that was great. feel. When Ronnie sang the songs on record he had that
You want to do this?’ And I said, ‘You’re damn right I swagger, but he could also bring out the soulfulness in
want to do this.’ He said, ‘Let’s go call Johnny.’ And when every song that not a lot of people could ever really cop.
we got a hold of Johnny and told him I really wanted to I could really get next to those tunes because I could
do it, Johnny said, ‘Rickey, are you sure? Are you sure feel the blues in them. Ronnie really loved the blues, and
you want to be just a guitar player and maybe sing some that was why he took to my Grandaddy Shorty so well,
backing vocals? You’ve always been a frontman and a because Shorty was basically a blues player himself.
lead singer.’ I said, ‘Johnny, I want to tell you just like my When I really get next to the tunes I can sit there, close
old man Shorty used to tell me. “If you can’t ride in the my eyes, let the music flow through me, and just do it.
back seat of a Cadillac, then I hardly ever have to look
you’ll never get to be the at the fretboard because
“I DO MY BEST, MAN. I GIVE 110 PER CENT
driver.” From here on out, I know exactly where to
I’m in the back seat.’ So we TO EVERY SONG EVERY NIGHT. THAT’S VERY go, whether it’s chords or
got it all together, and my IMPORTANT TO ME. I FEEL A CONNECTION TO lead work. My hands just
first gig out with the guys fall through it so naturally.
was in May of ’96 at the
THOSE WHO’VE PASSED, YOU KNOW?” I close my eyes and just let
Coral Sky Amphitheatre in myself go.”
Florida – and ever since then it’s been on, dude!”
THERE’S SOMETHING ALMOST SUPERNATURAL ABOUT IT, RIGHT?
AND HOW DID IT FEEL ONCE YOU WERE ACTUALLY BACK IN “Oh absolutely. And let me tell you something else.
LYNYRD SKYNYRD? Whenever we play a show, I look at the audience and I
“From the very beginning in 1996 it all felt natural to me. take in every single solitary minute so that later on I can
Everybody always asks me which song was the hardest pull the moment up in my brain database and relive it.
to figure out. People always think it would be ‘Free Bird’. It’s unbelievable, but I can remember all those moments.
But not really, because Allen put that song together in We’ve played so many incredible shows and I can just
sections. I knew the licks he was playing, and I just had to pull them all up in my mind.”
learn the sections. I remember the first day that I walked
into rehearsals in this big, big room here in Fort Myers. ARE THERE ANY IN PARTICULAR THAT STAND OUT?
We were going to play ‘Free Bird’, and I nailed it first “I can distinctly remember playing amazing shows at
time. And Gary and Johnny looked over at me and then Madison Square Garden in New York, and the O2 Arena

62
in Dublin. But the big one for me was playing at the
Royal Albert Hall in London back in ’97. I’d always wanted
to play at the Royal Albert Hall because it was where all
my heroes had played before. Cream had played there;
Hendrix had played there. And then all of a sudden there
I was, standing on that stage, playing in that hall. Oh my
Lord, I was like a kid at Christmas. I remember standing
in the middle of the stage thinking to myself, ‘Well, Eric
Clapton must have been standing right here!’ I didn’t
want to leave.”
SO YOU STILL HAVE MUSICAL HEROES?
“Oh absolutely. I gotta tell you, man… I got to talk with
Robert Plant a couple of times recently and that was so
cool. He was a guy I admired and revered when I was
young, so to stand there and talk to him about music,
someone who’s been there and done it a thousand times
over, was the ultimate thrill. Getting to be friends with
Robert, Paul Rodgers, Rod Stewart, guys who were my
ultimate heroes back in the day, is not only mind blowing,
but educational, and very spiritual. I may be a guitar
player in one of the world’s greatest bands now, but I’m
still a fan.”
IS THERE ANYONE THAT YOU HAVEN’T MET WHO’S ON YOUR
BUCKET LIST?
“I have yet to meet Eric Clapton. To get to meet him and
Jimmy Page before my time comes would be an absolute
thrill for me. I met Jeff Beck a couple of times and that
was great, but Eric really would be something. We’ll see
what happens. If it’s meant to be it will happen, and if it’s
not, then maybe I’ll meet him on the other side.”
YOU’VE NOW BEEN IN LYNYRD SKYNYRD LONGER THAN THE
ORIGINAL MEMBERS WERE. HOW DOES THAT MAKE YOU FEEL?
“It makes me feel pretty old right now! But you know
what? I hope one day when I cross over to the other
side that Allen is there and that I get to see him. And
when I see him, I hope he shakes me by the hand rather
than punches me in the face! I hope that he and Ronnie
think I’ve done them honour and I’ve done them justice.
I hope they think that I tried to keep the integrity in the
music, because I do my best every night, man. I give 110
per cent to every song every single night. That’s very
important to me. I feel a connection to those who’ve
passed, you know? I feel their soulfulness, and of course
that has a lot to do with the fact that Ronnie’s brother
Johnny is right there on that stage with me. Sometimes
I close my eyes when we play live, and I swear up and
down that I’m listening to Ronnie singing. And there are
times when I open my eyes and look at the centre of the
stage to look at Johnny and he reminds me of Ronnie so
much. I worked with Ronnie in those early years, so to
feel that connection is important, definitely. I honestly
think there’s nobody else who could come into the band
and sing those songs the way that Johnny does. It’s a
blood connection.”
GIVEN THE QUALITY OF YOUR VOICE YOU COULD PROBABLY
HAVE HANDLED IT OK…
“Well, I probably could. But you know what, man? I’m in
the passenger seat and I’m real happy where I’m at.”
ONE LAST QUESTION, RICKEY. WHEN YOU WERE FIRST IN
SKYNYRD BACK IN ’71, COULD YOU EVER HAVE IMAGINED
THAT ONE DAY YOU’D BE 73 YEARS OLD AND STILL PLAYING
IN THAT BAND?
“No, I never imagined that at all. But I gave up on all
the substances many, many years ago, and since I did
that I’ve always prided myself on trying to take the best
care of myself that I can. So that helps. But even so, I
would have never imagined myself turning 73 and still be
playing in Lynyrd Skynyrd. But hey, nowadays I always
think of another of my great heroes, Keith Richards.
Look how he’s still going strong at 79 years of age. And I
always say that if Keith can do it, then so can I!”
63
 FEATURE SKYNYRD – JUDY VAN ZANT

“I DON’T THINK I’VE EVER

GOTTEN OVER IT, REALLY”

Judy Seymour first met Ronnie Van Zant at a club in Jacksonville in 1969 and they started
dating immediately. By 1972 they’d married and were together until Ronnie sadly died in that
tragic Skynyrd plane crash on 20 October 1977. Judy opens up to Howard Johnson about her
life with the legendary singer and why for him “it was all about family, friends, and fishing.”

64
 SO JUDY, CAN YOU TELL ME EXACTLY WHERE AND a quick bite to eat, then go off to rehearsals for hours.
WHEN YOU FIRST MET RONNIE? Then he’d start the same routine again the following day.
“I first met Ronnie in 1969 at a place called the Comic I could see that it was really hard for Ronnie, so in the
Book Club in Jacksonville, which was one of the few end I said, ‘Well, why don’t you just quit work? I’ll work
places in town where you could hear good music. My and we’ll try to get by on my wages.’”
roommate at the time was a guy called Dean Kilpatrick
and he was a regular at the club back then. Dean would WOW, THAT WAS REALLY SUPPORTIVE OF YOU…
go on to become Skynyrd’s road manager and eventually “Well, I learned a long time ago that you can’t take the
act as their personal assistant. I’d been down to the music out of the musician. It’s what they do, it’s their life,
Comic Book Club quite a few times watching local bands. and I guess I was happy to be along for the ride. Most of
I can definitely remember seeing The Allman Joys, who the guys still lived at home with their parents and didn’t
would go on to become The Allman Brothers Band, have to worry about a roof over their head or eating.
playing there. One night Dean persuaded me to go Nobody had money, though. I had a car, and the band
there with him to see this band called The One Percent. would use it to travel to gigs, eating peanut butter and
It was an early incarnation of Lynyrd Skynyrd and of jelly sandwiches on the way. They’d go out and play and
course Ronnie was singing. Dean knew the guys and come back with nothing in their pockets.”
introduced me to everybody. I remember meeting Gary
first, then Ronnie.” YOU MUST HAVE ALWAYS BELIEVED THAT THE BAND
WAS GOING TO MAKE IT, THEN…
DID YOU KNOW ANYTHING ABOUT THE BAND’S MUSIC “None of us really thought that way. The guys just loved
AT THE TIME? music, wanted to play music, and put everything they
“I didn’t. As far as I can recall they weren’t playing any had into it. Nobody thought about making it big or
original music at the time – maybe one or two songs. becoming a huge band. They were just living day to day,
There were a lot of covers of numbers by bands like playing music and loving music. I think Ronnie and I had
Illinois Speed Press, Creedence Clearwater Revival, and it a little harder than the others, but we survived. Back
Cream in the set.” then living as a couple when you’re not married wasn’t
really accepted. When my landlord found out that I had
WHAT WERE YOUR FIRST IMPRESSIONS OF RONNIE? some guy at my place he promptly kicked us both out,
“Well the first thing for me was that I liked his band. I so we went and moved in with [original Skynyrd bassist]
could see that Ronnie was talented. When I got to meet Larry Junstrom. His parents had left the area to move to
him I thought he was a nice guy, very charming. Oh, and Miami and had left him in charge of the house.”
quite handsome too!”
AND HOW DID THAT GO?
SO HOW QUICKLY DID YOU START DATING? “Ronnie and I lived there with Larry, [original Skynyrd
“It was pretty quick. I drummer] Bob Burns
started hanging out with “RONNIE WOULD GET HOME FROM WORK MOST and [band roadie] Chuck
all of the guys in the band Flowers. It was a lot of
actually, because they did a NIGHTS, GRAB A QUICK BITE TO EAT, THEN fun – at least until LJ’s
lot of things together. They GO OFF TO REHEARSALS FOR HOURS. THEN parents came home for a
were all really young back HE’D START THE SAME ROUTINE AGAIN THE surprise visit and found us
then. Ronnie was 21, Gary all living there! Of course
was three or four years FOLLOWING DAY.” we got kicked out, but
younger, Allen maybe four that happened quite a few
or five. Ronnie was the only one who wasn’t still living times for various reasons. We moved around quite a bit,
at home with his parents. We moved in together pretty but it didn’t feel as bad as it sounds now. It was fun.”
soon after we met.”
DID YOU SEE YOURSELVES AS TRAILBLAZERS AND
DID THE BAND HAVE A FOLLOWING AT THAT POINT? ADVOCATES FOR A MORE LIBERAL LIFESTYLE IN A
“I’m pretty sure that they didn’t. I don’t think anybody PART OF THE STATES THAT WAS VERY CONSERVATIVE
was thinking too much about stuff like building AND TRADITIONAL?
audiences and careers at the time. They were all just “We never thought about that at all. When people kicked
enjoying living life and having a good time playing music. us out of places we just thought, ‘Oh, we got kicked out.’
I was waitressing and Ronnie was working in the daytime When Ronnie wore a wig to work he just thought ‘Well,
at his brother’s auto parts shop. When he went there to I have to wear a wig.’ Back then we weren’t liberal, and
work he had to wear a wig…” we weren’t conservative. We didn’t think like that. We
were just kids living the dream. I can’t really say that we
WHAT? A WIG? were political at all back then. But looking back it was
Photo: IconicPix/MM-Media Archive

“Yes, he had to wear a wig. In the part of America where
we lived at that time, long hair wasn’t really accepted, so
his brother made him wear a short wig to work. He had
to put it on every day.”
THAT’S MAD…
“In the end it got a little exhausting for Ronnie doing that
all the time. Life in general was pretty exhausting for him
back then, because everyone was very serious about
the band. He’d get home from work most nights, grab
strange. When Allen Collins got married to Kathy in 1970
her parents made all the long-haired guys who were at
the wedding wear short wigs. All of the guys I knew had
long hair, but the parents really didn’t like it. Having said
that, though, Ronnie’s parents were very supportive of
the band. Allen’s mother was very supportive and Gary
Rossington’s mum, well I guess you could say that she
went along with it. I think everyone’s parents were pretty
much behind the band. I think they’d really wanted
their kids to finish school, but you know…”

65
 FEATURE SKYNYRD – JUDY VAN ZANT
WE HAVEN’T TALKED TOO MUCH ABOUT THE BAND’S
ORIGINAL MUSIC IN THOSE EARLY DAYS OF SKYNYRD
AS YET. DID YOU LIKE WHAT THEY WERE DOING?
“Oh yes, for sure I did. I thought the music was very
unique and different for the time. The group came up
around about the same time as The Allman Brothers
Band, who were really into long jam-type songs. They’d
go on for a while, whereas Skynyrd pretty much gave it
to you in your face. I thought Ronnie wrote great songs
and he had a great team behind him making the music.”
DID YOU EVER GET TO
SEE THE BAND AT WORK
WHEN LIVING AT LARRY
JUNSTROM’S HOUSE?
“Well I’d often be walking
through the living room
there when they were
writing, but it’s not as if I
would sit down and really
pay attention to what
they were doing. Once
they started rehearsing
at the Hell House [a
remote building in Green
Cove Springs about 20
miles from the band’s
Jacksonville home where
the band could make a
racket without disturbing “I REMEMBER RONNIE AS A VERY GENTLE,
anyone] I’d go up there SOFTLY SPOKEN PERSON WHO WAS VERY
once in a while, but even
then I wouldn’t sit down CARING, VERY SMART, AND VERY DETERMINED.
and really listen.” THE PERSON I KNEW WAS NOT THE PERSON
PEOPLE WROTE ABOUT.”
DO YOU KNOW WHAT
THEIR WORKING
PRACTICES WERE?
“I don’t ever remember them recording stuff on a
cassette or anything like that. I now wish that they had,
of course. They did go into a couple of recording studios
in Jacksonville before the [famous 1971] Muscle Shoals
recording sessions, but that was about it.”
DID THINGS REALLY CHANGE IN 1972 WHEN BLOOD,
SWEAT & TEARS KEYBOARDIST AL KOOPER
DISCOVERED THE BAND AND SIGNED THEM TO HIS
SOUNDS OF THE SOUTH LABEL?
“Once they got the debut album [‘(Pronounced ‘Lĕh-’nérd
‘Skin-’nérd)’] out in 1973 it became non-stop. Skynyrd was
the hardest-working touring band you could find. They
were out on the road pretty much the entire time and it
really wasn’t good for their health. But it was what they
wanted to do and what they knew they had to do. I had
to hold on to my job, because it took a long time for them
to make any money. Then once things got a little easier
financially we moved out of Jacksonville to Orange Park
[about 15 miles to the south] and then to Doctors Inlet just
nearby where we bought a house.”
WAS IT DIFFICULT AND LONELY FOR YOU WITH RONNIE
BEING AWAY ON TOUR SO MUCH?
“Well I don’t know if I have a mental block or if it’s just
my age, but I don’t remember being lonely, no. I was
renovating the house and making improvements to it.
66
The wives and girlfriends hung out together and did a lot
of things together. We’d go shopping together, go out
and eat together. We stayed busy, you know? And then
in 1976 Ronnie and I had our daughter Melody and of
course that took up all of my time.”
DID YOU SPEND TIME ON THE ROAD WITH RONNIE?
“I did from time to time. At first we didn’t have much
money, so I couldn’t afford to do it. Plus I still had a job,
so I’d have to work around that if I wanted to go to a
particular city where they were playing that I hadn’t
visited, or if there was a
particularly special show
the band was playing.
But when I was out there
Ronnie and I pretty much
kept to ourselves. From
what I could tell, Ronnie
was a completely different
person on the road when
I was there compared to
when I wasn’t. When I was
there he didn’t drink, and
we did our own thing. There
wasn’t anything crazy.
Judy and Ronnie with their baby Well, I did witness one or
daughter Melody in 1976 two crazy moments, but
generally it wasn’t too bad.”
SKYNYRD DID HAVE A BIT
OF A REPUTATION. DID
THAT WORRY YOU?
“You mean the brawling
and the hellraising? It didn’t
worry me because Ronnie
could take care of himself.
But it was always a bit
disturbing for me to read that kind of stuff because that
wasn’t the Ronnie I knew. Whenever Ronnie came off the
road he hardly drank. All he wanted to do was go to his
mother’s to eat dinner, and to go fishing. He might have
had a beer out by the pool or on the fishing boat, but he
didn’t do the hard whiskey and stuff like that when he was
home. I’ve always said the man should never have drunk
brown whiskey. That’s the devil in a bottle.”
BY THE TIME YOU HAD MELODY, SKYNYRD HAD
RELEASED FOUR STUDIO ALBUMS AND HAD ENJOYED
CONSIDERABLE SUCCESS. YOU MUST HAVE BEEN
MUCH BETTER OFF FINANCIALLY…
“For quite a while all the money the band made went back
into the group to pay for touring expenses. But everybody
was on a salary, and occasionally they’d get a bonus. I do
remember the first bonus Ronnie got was a cheque for
$10,000. Wow! We really thought we’d hit the jackpot. But
by then the band was playing big places and commanding
decent fees. They were getting $10,000 guarantees for
a single show. Given that ticket prices at the time were
maybe five or 10 dollars, that shows that there were a lot
of people going to see Lynyrd Skynyrd play by then.”
THE SUCCESS CAME AT A PRICE, THOUGH, DIDN’T IT?
“It was tough at times, and I worried about Ronnie being
pushed too hard to play too many shows. There were a
few occasions when his throat would start bleeding and
 things like that. Often they’d come home really tired and
complaining a little bit.”
IS IT TRUE THAT RONNIE SAID HE DIDN’T THINK HE’D
LIVE PAST THE AGE OF 30?
“He said that to many, many people, and he definitely said
it to me. But when he said that I was always like, ‘Oh, yeah,
sure.’ I didn’t take him all that seriously because he really
didn’t live his life at the time as if those were going to be
his last few years. So I don’t honestly know if he really
knew that he wouldn’t make it past 30, or if he really felt
that. All I know is that he had plans for the future.”
DID YOU NOTICE ANY CHANGES IN RONNIE AS HE
GOT OLDER AND MORE
SUCCESSFUL?
“Melody was born four
years after we married, and
her birth totally changed
Ronnie. He had a child
[Tammy] from a previous
marriage [to Nadine Inscoe
in 1967], but second time
around he wanted to be a
better father. He wanted to
get healthier, which was a
bit of a contradiction of the
whole ‘dying by 30’ thing.
In the last year we were
making plans. We’d gone Ronnie performing live on the ‘Gimme Back My Bullets’
tour at the Rainbow Theatre, London, 27 January 1977
on vacation up to North
Carolina and Tennessee
and were looking to buy some property by a lake up
there. Back in Florida we were looking at maybe building
a house in a neighbourhood, so Melody would have kids
to play with, because we were kind of out in the middle of
nowhere at Doctors Inlet. But we didn’t get the chance to
do any of that. I do think Ronnie wanted to move forward
into the future, but I guess we’ll never know…”
I’M SURE IT’S DIFFICULT TO TALK ABOUT THE PLANE
CRASH IN 1977 THAT TOOK THE LIVES OF RONNIE,
SKYNYRD BANDMATES STEVE AND CASSIE GAINES,
AND YOUR FRIEND DEAN KILPATRICK. WHAT DO YOU
REMEMBER OF THAT DAY?
“I’d been out for dinner with Melody, Steve’s wife Teresa,
and their daughter Corrina. After we’d eaten, Teresa drove people who were close to the guys. That’s really sad.”
me home. I know it was a Thursday night, because the TV
programme The Waltons was on a Thursday, and I liked to WHEN YOU THINK OF RONNIE NOW, WHAT ARE THE
be home to watch it. Teresa dropped me off, I flicked the
Photos: Courtesy of Judy Van Zant; IconicPix/George Bodnar Archive
TV on and went off to get Melody into her pyjamas. When “I just remember Ronnie as a very gentle, softly spoken
I came back into the living room there was a newsflash on person who was very caring, very smart, and very
the TV. It said that the rock band Lynyrd Skynyrd’s plane
had crashed in Mississippi and that there were multiple
fatalities. That’s how I first heard, but then Teresa phoned
me, and she was hysterical. I was in denial and just said
that it wasn’t true. So I called [Skynyrd’s manager] Peter
Rudge and he told me that it really was true. He said he’d
call me back as soon as he had more information, but it
seemed like an age before he did.”
DID YOU FEAR THE WORST?
“At that point I had a sense that Ronnie had passed
away. I first spoke to Peter around seven o’clock at night,
and I think it was around nine thirty when I finally got
confirmation. Teresa called again and she was screaming
hysterically that Steve was dead. Then Peter called me
again to tell me Ronnie was gone, and I think I kind of
stepped out of my body. I felt like I was floating, which
was really weird. Someone arranged to get a chartered
plane to fly us to Mississippi. I think it was me, Billy’s wife
Stella, and Ronnie’s dad Lacy. I don’t remember who else
was on the plane, but we flew to Mississippi that night.”
THAT MUST HAVE BEEN INCREDIBLY TRAUMATIC…
“It was very odd, like I wasn’t really there. I remember
the band’s accountant sitting up talking with me all night
long because I couldn’t get to sleep. I saw Ronnie, and
I saw the survivors, and then I flew back to Jacksonville
where my dad helped me to make arrangements for the
funeral. My parents lived in Georgia, and they drove down
immediately because I needed someone to look after
Melody. I only remember
the funeral vaguely. It
felt like an out-of-body
experience, like I was
looking in on somebody
else’s life. The thing is,
when something like that
happens, everybody else is
pretty much as devastated
as you are. So I couldn’t
support Ronnie’s parents,
and they couldn’t support
me. Teresa Gaines and
I were pretty tight, but
they were originally from
Oklahoma, so when it
happened she went back
there. It was a weird time. I
don’t think I’ve ever gotten over it, really.”
IS IT DIFFICULT THAT PEOPLE STILL WANT TO TALK TO
YOU ABOUT SOMETHING THAT’S SO PAINFUL?
“Normally I don’t like to talk about the plane crash. But
I’ve been writing down notes to maybe do a book, and
that’s why a lot of that stuff is kind of coming back. I’ve
had to go back and force myself to try to remember
things and remember people. I’ve gone around
Jacksonville and taken photos of places where we lived,
and places where Skynyrd played. Most of those venues
are no longer there, but a lot of the places where we
lived are still standing. The hard part is that pretty much
everybody’s gone now. Not just band members, but
PICTURES THAT PLAY IN YOUR MIND?
determined. The person I knew was not the person
people wrote about; and to be honest I probably wouldn’t
have liked that person. For me Ronnie was someone who
loved being home, who loved to fish, who loved his real
friends. That was it for him; family, friends, and fishing.”
CAN YOU LISTEN TO LYNYRD SKYNYRD MUSIC NOW
AND FEEL JOY RATHER THAN PAIN?
“Sure I can. Where I live in Florida it’s pretty hard to go
anywhere without hearing ‘Sweet Home Alabama’. I
always laugh because I can be at the hairdresser’s, or at a
restaurant, or shopping, and on it comes! ‘Freebird’ is still
a very emotional song for me, and I don’t go to see the
band live that often. Even when Gary was alive I didn’t do
that. I think I just want to leave that alone because to this
day I wish Ronnie would come back. I miss him terribly.”
67
 FEATURE THE ROCK CANDY Q&A

STEVE MORSE
THE FORMER DEEP PURPLE AND KANSAS GUITARIST ON REPLACING RITCHIE
BLACKMORE, CARING FOR HIS SICK WIFE, AND WHY HE STILL WRITES MUSIC…

68
 IN THE ’80S, THE INFLUENTIAL MAGAZINE she came close to death. I was on the road somewhere
GUITAR PLAYER NAMED YOU ‘BEST OVERALL far away and there was nothing I could do. I felt helpless
GUITARIST’ FOR FIVE YEARS IN A ROW. WHAT because my wife was in intensive care at a hospital, and
DID THAT MEAN TO YOU? I was getting ready to get on stage and do a show. The
“It was really great to be recognised, but I also worst episode happened while I was in South America.
understood that the only person who can properly judge The surgeon got on the phone and said, ‘This is serious;
me as a player is me. Back then I felt like I had a long you need to be here.’ So when Janine got sick again, I
way to go, so I never let any of that stuff go to my head. wasn’t about to let that happen a second time. I decided
I knew that plenty of bands made great albums and that that I’d be the guy to take care of her. Leaving Deep
there were probably thousands of players out there who Purple was a secondary issue.”
were better than me.”
HOW DOES IT FEEL GETTING BACK ON STAGE
HOW DO YOU FEEL YOU RESHAPED THE SOUND WITH THE STEVE MORSE BAND AFTER SUCH A
OF KANSAS AFTER JOINING THE BAND IN 1986? LONG TIME?
“I’d always been a fan of Kerry Livgren’s playing, and “It feels great, but I wasn’t sure about leaving my wife
I’d been into Kansas since right back in the ’70s, so just at home with life-threatening cancer because I felt like I
to be a part of the band was amazing as far as I was needed to be there with her. But she was concerned that
concerned. By that point I’d written a lot of material with I wasn’t playing music, so that’s when I decided to start
my previous band the Dixie Dregs, so I knew what it took doing more shows with my trio [bassist Dave LaRue and
to write good music. When [guitarist] Rich [Williams] drummer Van Romaine] again. I can’t do much – only
and [drummer] Phil [Ehart] asked me to join Kansas, a few dates a month here and there, because being at
I said, ‘Hey, I’m just excited to be here. If you need me home is my priority.”
to write anything, I can do that. But if you just want me
to play guitar I’m cool with that, too.’ But I did end up WHAT ARE THE DIFFERENCES BETWEEN
writing, and while we modernised the sound it was still PLAYING IN A TRIO AND PLAYING IN PURPLE?
composed of the elements that made Kansas great. I “With Deep Purple, a lot of my time was spent doing
came in as a fan of the band, rhythm parts, and there’s an
so I didn’t want to change art to making a rhythm part
things too much. People still “IF YOU DON’T FEEL HEIGHTENED interesting, but it’s nowhere
hear differences, though, AWARENESS, EXPECTATION, AND near as demanding as what
mainly because we didn’t I play in the trio where we’re
EXCITEMENT BEFORE YOU GO ON STAGE,
have the violin.” even doing some classical
THEN MAYBE YOU SHOULD DO guitar duets. That’s wildly
YOU WENT TO DEEP SOMETHING ELSE.” different because if you have
PURPLE IN 1994. any weaknesses then you’re
WAS CONSTANTLY going to hear them.”
BEING COMPARED TO A LEGEND LIKE RITCHIE
BLACKMORE DIFFICULT? WERE YOU NERVOUS GOING OUT AND
“It really wasn’t, because by that point I knew what it was PERFORMING AGAIN?
like to come in and replace a big name in a band. Having “The mechanics of it is fine, like riding a bike. But if
done it with Kansas, I knew there was always going to be you don’t feel heightened awareness, expectation, and
a percentage of people that would never be prepared to excitement before you go on stage, then maybe you
buy into it. But I couldn’t focus on the people who hated should do something else. I’ve never felt ‘normal’ before
me, so I embraced the things that came with the territory a performance. I guess it’s just nervous energy.”
and understood that if a band is your favourite group,
then you never want to see them with anyone but the ARE YOU WRITING NEW MUSIC?
original members.” “I have some ideas that I’ve been working on, but they
need to be reshaped a little bit because they were
WERE YOU ASKED TO PLAY LIKE RITCHIE, OR initially intended for Deep Purple. The parts inevitably
WERE YOUR NEW BANDMATES RECEPTIVE change when the players change, and the arrangements
TO YOU INJECTING YOUR OWN STYLE INTO will change when the style of music changes. We all
THE MIX? know that there’s little to no commercial value in new
“The guys were pretty receptive to me being me. Of music these days, and there’s no way to generate much
course they wanted to keep their own band identity income from it, so it’s more about artistic needs than
and didn’t want me taking things too far in a different anything else right now.”
direction. But my job was also to supply ideas and feed
the machine. If I came in with something they didn’t like, DO YOU PLAY GUITAR EVERY DAY OR DO YOU
I’d say, ‘OK, you don’t like that, but what about this?’ EVER GET BORED WITH IT?
Over time, a percentage of those ideas began to stick, “I always get some enjoyment from playing, and I never
which allowed me to make my mark in the band. By the get tired of it. But there are times when maybe I’ve
end of my time I had a pretty big say in how the new got nothing left in me, so to speak. I’ve now learned
Interview by Andrew Daly

material came out.”
HOW DIFFICULT WAS IT TO WALK AWAY FROM
PURPLE IN 2022 AFTER YOUR WIFE JANINE
FELL SERIOUSLY ILL WITH CANCER?
“To be honest it really wasn’t difficult at all. About 17
years ago Janine had an operation that went wrong, and
when it’s time to ease off rather than push myself to
keep practising. So if, for example, I’ve had a difficult
day I probably won’t try to play. But those times are
infrequent. I’d have to be seriously sick, or it would have
to be a significant emergency like when I had COVID. It
takes a lot to knock me out of the game when it comes
to playing guitar.”

69
 FEATURE JETHRO TULL

Ian Anderson photographed in London, March 1993

70
 FOR WHOM
THE BELL
TULLS
Jethro Tull’s leader Ian Anderson
knows that his band can’t continue
forever. But with a fanatical prog
following behind him, and the creative
urge still strong, he’s determined to keep going for as long as possible.
Andrew Daly talks to the man who single-handedly made the flute cool!

CREATIVITY HAS NEVER BEEN an issue for Ian “The knowledge that this won’t go on forever is what
Anderson. With flute in hand, a hop in his step, and keeps me inspired,” he says. “If my creative juices are
wit to spare, Anderson has crafted some of the most still flowing, or even just oozing slightly, then it seems
memorable prog rock of the last 50-odd years, even if he like a good plan to get on and try to do what I can
doesn’t classify his music that way. while I can. Sooner or later I will physically and mentally
“I don’t think Jethro Tull is strictly a prog rock band,” decline to the point where I won’t be able to do any
Anderson tells me. “To me, the word progressive is of this anymore. So I’m getting out there while the sun
more of a general term that embraces elements of folk, still shines.”
jazz, classical, and other influences. I’m fine with that. I To Ian Anderson, that intent is everything. Now 75
don’t mind it. But I do think prog rock is often perceived years of age, the veteran musician’s mental gymnastics
as self-indulgent and often finds ways to distance are still as esoteric as in years past. But time waits for no
itself from both other forms of music and even the one, and that’s why he positively encourages his musical
audience. Thrusting the bombastic and self-indulgent muse to wander…
connotations of prog rock on Jethro Tull does make
me uncomfortable. But I don’t take it too seriously. If WHAT STEERED YOU BACK TO USING THE JETHRO
somebody said, ‘Oh, TULL MONIKER
Jethro Tull is just “‘AQUALUNG’ WAS MORE OF A SINGER-SONGWRITER AFTER WORKING
a prog band’ that UNDER YOUR OWN
wouldn’t offend me. ALBUM IN THE SENSE THAT IT WASN’T JUST ALL ROCK NAME FOR QUITE
I’d probably want to MUSIC. QUITE A FEW ACOUSTIC SONGS WERE RECORDED A WHILE?
correct them, but it “It wasn’t really a
IN THE STUDIO WITHOUT THE OTHER GUYS. I WASN’T
wouldn’t bother me.” question of being led
Not everyone THAT CONFIDENT OR SURE ABOUT IT.” back to it because
would agree with even while I was
Anderson’s assessment that Tull don’t fit the prog performing under my own name I still played a lot of
bracket. Standout records like 1971’s ‘Aqualung’, ‘Thick As the same repertoire that I’ve been playing since 1968.
A Brick’ from 1972, and the 1973 release ‘A Passion Play’ But there have been times when I made albums that are
are all rightly revered by prog fans. But however these perhaps more acoustic, or not necessarily as obviously
records are labelled, surely not even Anderson could rock, and that’s when I chose to work under my own
have imagined the impact they would have. name. But all the same, Jethro Tull have been performing
“As it turned out, ‘Aqualung’ was a slow burn,” concerts as Jethro Tull since 2011.”
Anderson recalls. “It didn’t have massive sales in any
country to start with. It just ticked along, notching up a WHAT KEEPS YOU INSPIRED?
lot of sales over a period of time. After a few years it had “Inspiration isn’t necessarily something that comes to
Photo: IconicPix/George Bodnar Archive

sold millions worldwide. And it’s certainly had longevity
in terms of songs that appear in the Tull live repertoire.” because I think inspiration has a lot to do with luck. You
As much as Jethro Tull’s back catalogue may be loved,
Anderson and his fellow band members aren’t resting
on their laurels. Apart from the main man, Tull’s current
line-up doesn’t include any original members, but that
doesn’t mean the group’s latest album, ‘RökFlöte’, isn’t
worth a listen.
Anderson pauses for a second when I ask him what
keeps him in pursuit of new sounds when many of his
contemporaries have folded their proverbial tents.
me. It’s more a question of me going and looking for it,
could be sitting on a train or in the shower, and you’ll be
inspired by something. You’re not deliberately pursuing a
topic or an angle, but rather you’re putting yourself into
the right place, space, and mood. And hopefully, within
an hour or two something will occur to you. And while
whatever comes might not be a great idea, at least it’s
something to work on. And with a bit of work, effort,
application, and expertise, it could turn into a great idea.
Inspiration isn’t a God-given right. If the muse visits,

71
 FEATURE JETHRO TULL
then you have to Clapton playing
meet it halfway.” with John
Mayall & The
SO WHAT Bluesbreakers
WAS YOUR on an album
MUSE FOR [‘Blues Breakers
‘RÖKFLÖTE’? With Eric
“Anyone who’s Clapton’]
heard it will that clearly
know that there’s demonstrated
an underlying Clapton’s
theme. I decided superiority in
to write an the world of
album examining guitar players
some of the at that time.
policies and It pointed out
beliefs present that perhaps I
throughout would always
history. But it’s be working to
worth noting catch up with
that I discarded his ability – and
thoughts I instinctively
about Greek knew I never
mythology, would. So I
Roman decided I should
mythology, find another
and Eastern instrument,
religions in preferably
favour of Norse one that Eric
mythology, Clapton, Jimi
because Norse Hendrix, Jeff
mythology Beck, and
and paganism Jimmy Page
are things I couldn’t play.
wasn’t very In many ways
knowledgeable the flute came
about but was about through
intrigued by. I’d a process of
always steered elimination.
clear of all that I wasn’t
because of the particularly
associations with drawn to it, but
the warlike spirit it seemed like an
of Vikings. Comic interesting idea.
books, television And after a few
programmes, months of not
and movies all being able to
tend to glorify play it, suddenly
something I found I could
Photos: IconicPix/Ian Dickson; IconicPix/Ray Palmer Archive

that’s a little play a few notes.

unpleasant Then after a
Ian with flute and interesting codpiece performing
and vulgar in at the Rainbow Theatre, London, 15 November 1974
couple more
that culture. days I could
That became a play what I was
challenge for me, playing on the
to try to find a way to deal with it, but to do it in a playful guitar in terms of improvised blues solos and so on.”
way that would be sensitive, yet still upbeat. It was also
crucial for me to avoid the stereotypes of Norwegian WHAT ARE YOUR MEMORIES OF WORKING WITH
heavy metal bands.” TONY IOMMI?
“When Tull’s original guitarist, Mick Abrahams, left
THE FLUTE IS STILL AS PRESENT AS EVER IT WAS the band towards the end of 1968, we cast around for
IN YOUR NEW MUSIC. WHAT WAS THE EUREKA possible options, and Tony Iommi was somebody I’d
MOMENT THAT MADE YOU PUT DOWN THE GUITAR seen when Black Sabbath [or Earth as they were known
AND PICK UP THE FLUTE? at the time] played a show with Jethro Tull. I don’t know
“If there was a eureka moment, it was hearing Eric whether or not I spoke to Tony at that point, but his style

72
of guitar playing HOW DO YOU
appealed to me MEASURE THE
because he didn’t IMPORTANCE OF
sound like other ‘AQUALUNG’ ON
blues guitar players. JETHRO TULL’S
Tony had a different TRAJECTORY?
way of playing; he “It’s funny to think
avoided the blues now, but back then
guitar stereotypes. there was a small
So I asked him if element of doubt
he wanted to meet because ‘Aqualung’
and play around for was more of a
a couple of days, singer-songwriter
which he did. But album in the sense
at the end of that, that it wasn’t just all
it seemed like it rock music. Quite a
wasn’t going to be few acoustic songs
his cup of tea. And were recorded in
in some ways Tony’s the studio without
way of playing was the other guys,
probably limited where I went in with
by the physical an acoustic guitar
injury he’d sustained and sang the songs.
to his hands.” And then we added
some frills and other
SO WHEN DID elements around
MARTIN BARRE those acoustic
COME INTO THE tracks during
PICTURE? the final process.
“Given that Tony So, I wasn’t that
wasn’t suitable for confident or sure
the stuff I wrote for about ‘Aqualung’
Tull 1984 vintage. Clockwise from top left: Peter-John Vettese
the second Jethro (keyboards), Ian Anderson (vocals, flute, and acoustic guitar), being a good
Tull album [‘Stand Dave Pegg (bass), Doane Perry (drums), Martin Barre (guitar) successor to what
Up’], I knew I’d have had come before.”
to find someone
else. A few people DO YOU NOW
came and went, and “I DON’T LIKE SPORTS VENUES OR CHANGING IN MEN’S FEEL THAT
in the end I found LOCKER ROOMS AT MADISON SQUARE GARDEN. BEING ‘AQUALUNG’ IS
Martin Barre who, A SPECK ON A STAGE IN FRONT OF THOUSANDS OF JETHRO TULL’S
like Tony, wasn’t MOST GROUND-
necessarily a blues PEOPLE DOESN’T APPEAL TO ME.” BREAKING
guitar player in the RECORD?
traditional sense. He had a different style and was open “I think ‘Thick As A Brick’ was more ground-breaking
to new ideas and influences. So by early 1969, Martin was to be honest, because it was more of a deliberate
an essential ingredient in the band. His being open to attempt to write something different and, in some ways,
trying to interpret my ideas for the next bunch of songs employed elements of what was then still perhaps British
was important, and he fulfilled that role wonderfully.” humour. ‘Aqualung’ has stood the test of time, but as
long-lasting as it’s been, I have to say that the surrealistic
DID THE SUCCESS OF THE FIRST TWO TULL ALBUMS imagery and unusual tendencies of ‘Thick As A Brick’
IN THE UK, 1968’S ‘THIS WAS’ AND THE FOLLOWING were more ground-breaking, because it was designed
YEAR’S ‘STAND UP’, COME AS A SURPRISE TO YOU? and written to be a bit of a spoof on prog rock in 1972.”
“Well it was certainly gratifying to have a first and
second album that got noticed in Britain. They did OK THE BAND BECAME HUGE AT THIS POINT. DID YOU
in some other countries, but were more starting points ANTICIPATE THE IMPACT THAT MAKING THE JUMP
than anything else. That type of music worked at the TO ARENAS WOULD HAVE?
time. We needed to get something going, so we leaned “I didn’t, and it shocked me because I didn’t want to
into the idea that we were a quirky British blues band. make that jump. At the very beginning I didn’t like
But it wasn’t something I wanted to continue with. While playing in clubs either, because they were noisy, smelly,
I have a massive respect for black American folk music, hot, and smoky. What I enjoyed were the theatres. I liked
I didn’t want to make a living out of pretending to be something with a formal stage and dressing rooms. I
something I’m not. I’m not American. I’m not black. I can’t liked being somewhere that allowed you to soak up
possibly pretend to have experienced the history and the the atmosphere thoroughly, and that also gave you
realities of black American culture, past or present. I felt privacy and quiet backstage. I don’t like sports venues
uncomfortable with it, and I wanted to stay a little closer or changing in men’s locker rooms at Madison Square
to my roots as a European. So I began to draw primarily on Garden. Being a speck on a stage in front of thousands
an eclectic set of influences to embark upon what became of people doesn’t appeal to me. But the pressure was
known in the next year or two as progressive rock.” there to play in front of as many people as possible,

73
 FEATURE JETHRO TULL
and reach as many people as we could. Even so, by the I also felt that we had to have a change, and so we did
end of ’72 I was done with it. I said, ‘I don’t want to do have a change. We found a new line-up, with only Martin
this any more’ and I had to be persuaded to continue Barre remaining.”
with it for a few more years. But really, it’s not for me. It
never has been. It just feels wrong.” PART OF THAT CHANGE CAME THROUGH
EXPERIMENTING WITH ELECTRONIC MUSIC. DO
THE MONEY YOU MADE AT THE TIME MUST HAVE YOU NOW FEEL THAT WAS A MISTAKE?
SOFTENED THE BLOW SOMEWHAT, THOUGH… “The technology available at the time was changing. I
“Well I think all the band members were grateful to wanted to utilise it and manipulate it in ways that would
return after a long tour and find that a chunk of money be beneficial to the group. But to do that you had to
had been deposited in master it and gain control
their bank accounts. And over it. Once technology
so yes, from that point of starts to control you, then
view, for eight years or so, it becomes too much a
the relatively high earnings part of the recording and
were something that most performance process, which
of us were happy with. I think is the case with most
Considering most people in of Jethro Tull’s work around
music don’t anticipate that that time. I look at that
it will go on for very long, period as simply part of the
we were lucky enough to history of the band, but I
have a big-selling record wouldn’t say I’m as close to
and to do a few extensive it now as I am to the music
concert tours that made that came before it. I don’t
playing in those big venues like it when things seem
more palatable. But you like part of an assembly
always have the idea in the line. And I don’t care for it
back of your mind, ‘This when it becomes a matter
could all come to a sad end of bits you put together.
at any time.’ So, if you’re I’ve tried working that way,
still going strong after a but it’s not very satisfying
few years, it certainly can for me. I enjoy getting
feel like something to be together with the guys in a
very grateful for. But by the rehearsal studio, working on
same token, money isn’t songs and arrangements,
everything. It’s also about and then getting them to
leaving a legacy behind “IF MY CREATIVE JUICES ARE STILL FLOWING, the point where they’re
and having an extensive OR EVEN JUST OOZING SLIGHTLY, THEN IT SEEMS ready to record. The whole
repertoire of recorded point for me is that you’re
LIKE A GOOD PLAN TO GET ON AND TRY TO DO
music. And while it may playing it together.”
not be earning me or any WHAT I CAN WHILE I CAN.”
of the other guys a great DID YOU FIND IT
deal of money in this digital age, it’s still not something SHOCKING THAT JETHRO TULL BEAT HOT
we take for granted. As working musicians, we still hope FAVOURITES METALLICA TO A GRAMMY IN THE
to reap some benefits in the long term rather than being HARD ROCK AND METAL CATEGORY IN 1989?
a flash in the pan.” “I only think really about it when journalists ask me
that question. It’s not a particularly strong memory, to
1976’S ‘TOO OLD TO ROCK ’N’ ROLL: TOO YOUNG be honest, and I don’t feel an immense sense of pride
TO DIE!’ WAS ALREADY JETHRO TULL’S NINTH about it either. I recall the things surrounding it, but it
ALBUM. DID YOU FIND THAT THE BREAKNECK doesn’t matter that much to me. Having said that, it was
PACE OF RECORDING AND RELEASING RECORDS a new category in the Grammys that year. I suppose the
WAS EXHAUSTING? idea was to reflect some change in the musical styles,
“Indeed it was. Because we were on tour a lot, our so they came up with that new category to do so. And
recording sessions for those nine records had to be I didn’t think that Jethro Tull really qualified for it, but
fitted in between the live work. I remember everything our record company Chrysalis put our names forward
being extremely jam packed, so by the end of the ’70s in the nomination process. So we were nominated
I was exhausted and needed to take a break. But we alongside a bunch of other bands, including Metallica.
didn’t take much of one as I recall. I think everybody had But I assure you that no one – me included – thought for
become mentally and physically exhausted too, so it was a second that we’d win it. It was the voting members of
a good idea to back off and do something else for a bit. the National Academy of Recording Arts and Sciences
A couple of guys in the band had already decided they who decided in their infinite wisdom that Jethro Tull
didn’t want to continue full-on with Jethro Tull, so they should win a Grammy that year. And I don’t think it was
had pretty much left the band, and one [John Glascock] for being a hard rock or a heavy metal band. I think it
had unfortunately died. By 1979, I was possibly the only was for being a bunch of nice guys who hadn’t won a
one in the group who would have liked to carry on. But Grammy before.”

74
 HOW DID YOUR BASS PLAYER DAVE PEGG’S
DEPARTURE DURING THE RECORDING OF ‘ROOTS
TO BRANCHES’ IN 1995 AFFECT THE OUTCOME OF
THAT RECORD?
“Well, Dave had been with the band since the end of
’79, but he’d also tried to carry on with his first love,
Fairport Convention. And I can see why, considering he
had so much history with that group. Anyway, trying to
keep up with the demands of the two different groups
was starting to stretch him pretty thin. Dave had to try
to sandwich things in between Jethro Tull tours and
recording sessions, and then add whatever he could
do with Fairport. Ultimately that meant he couldn’t
contribute to them the way he wanted to. So it was
The current Tull line-up. L-R: John O’Hara (keyboards, piano, accordion),
David Goodier (bass guitar and double bass), Ian Anderson (vocals, flute, and
acoustic guitar), Joe Parrish (guitar), Scott Hammond (drums and percussion)
inevitable that there would have to be a split, but it
wasn’t in any way acrimonious. Dave and the rest of us
have always been good chums, both before and after he
was in the group. So it was purely the pragmatic realities
of trying to fit schedules together and ultimately failing
in that attempt. He had to choose to either be a Fairport
guy or a Jethro Tull guy, and his first love was traditional
folk music, so that’s what he did. As far as how it
affected ‘Roots To Branches’… it didn’t. Considering the
split wasn’t problematic, we carried on and completed
the album as we hoped to.”
Photo: Asunta Opahle
IS IT TRUE THAT YOU NEARLY ENDED JETHRO TULL
BACK IN 2011?
“No, that’s a misconception. Jethro Tull didn’t finish
around 2011. As I said earlier, Jethro Tull carried on
doing many concerts as Jethro Tull. We were always
playing the Jethro Tull repertoire. But sometimes, some
concerts were more Ian Anderson concerts because
they were acoustic, orchestral, or something other than
the Jethro Tull rock repertoire. Having that defining line
is important in deciding whether it’s a Jethro Tull show
or an Ian Anderson show. As for albums, if it’s the guys
I see as members of Jethro Tull, and it’s a rock album,
then I most likely call it Jethro Tull. If not, then I call it an
Ian Anderson album. So some people think that Jethro
Tull disbanded and then reformed, but that’s not what
happened. It was just a nuanced change at a time when
I was doing concerts and making records that weren’t all
Jethro Tull material. Me making an Ian Anderson album,
or performing shows as such, has never meant that
Jethro Tull was finished.”
WHAT DOES THE FUTURE HOLD FOR YOU AT THE
AGE OF 75?
“Death. Nothing is more certain than knowing that we’ll
all die at some point. I know that my days are numbered,
as all of ours are. We just don’t know when that number
is going to come up. But both physically and mentally
there will come a time when I can’t carry on. It could
be five years from now or ten years from now, but the
day will inevitably come when I can no longer get out
of bed in the morning. It’s not something I worry about
too much, but I don’t feel that I should pass up the
opportunity to continue to do live concerts and make
records for as long as I can. So I’ll do that for as long
as it satisfies me, and for as long as I can meet my own
standards. I want to continue because I know that it
won’t go on for too much longer. I enjoy it while I can
because the day will certainly come when the sun will no
longer shine.”
75
 FEATURE INSIDE STORY

BORN
76
TO RON
 He was at the helm of Montrose, the rock band that set the blueprint for much of US metal with their
incredible 1973 debut album ‘Montrose’. But it proved impossible for guitarist Ronnie Montrose to stay
in his musical lane. Neil Jeffries charts the life and times of an endlessly fascinating restless soul…

IT’S AUGUST 2005 AND, much to the delight and Sawbuck in 1969. The group struck a deal with Fillmore
astonishment of millions of fans of the hard rock genre, Records, bringing Ronnie into the orbit of legendary San
pioneers Montrose have re-formed for a short run of shows, Francisco promoter and impresario Bill Graham, who
playing a 35-minute ‘encore’ set after a performance by would subsequently follow his career closely and would
original vocalist Sammy Hagar And The Wabos. work with Ronnie for many years.
A double whammy of acknowledged Montrose classics Ronnie made his recording debut in January 1971 at
‘Space Station #5’ and ‘Rock Candy’ has just driven the San Francisco’s famous Wally Heider studio, guesting
Chronicle Pavilion crowd in Concord, California to ecstasy. as a guitarist on a track – ‘Ostinato (Suite For Angela)’
One man, though, is not happy. His name is Ronnie – on jazz pianist Herbie Hancock’s album ‘Mwandishi’.
Montrose. The guitarist moves to centre stage and, over Montrose’s skills led to further session work at the studio,
the din of the crowd, informs Sammy Hagar that the next and also a brief stint touring with American songwriter
song he will play is going to be ‘I Got The Fire’, not ‘Rock Boz Scaggs. Ronnie’s career began in earnest, though,
The Nation’ as had previously been rehearsed. later that same year when the much-respected singer
Hagar looks to drummer Denny Carmassi and bassist Van Morrison recruited him for his band. Ronnie’s
Bill Church and says: “A little switch-up! Denny, Bill… a pre-Sawbuck acoustic outfit The Corn Brothers, also
little switch-up like the old days. Ronnie changed his featuring Bill Church, had opened for Morrison around
mind at the last minute. Don’t worry about it. Just like the Bay Area, and the Irishman had been impressed
the old days…” that Ronnie could play mandolin as well as guitar. Both
There’s no trace of annoyance in the singer’s voice and instruments can be heard on Morrison’s fifth album,
nobody cares, but all the same it’s telling that even at this ‘Tupelo Honey’, from October of 1971, and Ronnie turned
point, way down the road in all of their careers, Ronnie in an excellent guitar performance on the record’s US
still believes things can be better. That’s telling, but it’s Top 30 hit ‘Wild Night’. Even so, Ronnie and Bill Church’s
not altogether surprising. Ronnie’s capricious nature tenure in Van’s band lasted just 18 months.
defined his entire career, one in which he’s consistently Ronnie was vague about his next project, simply
and stubbornly refused to repeat what’s worked before explaining that some music he was working on was heard
and has been compulsively driven to “change it up”. by rock multi-instrumentalist Edgar Winter via “a guy who
Of course, if worked at CBS Records
Ronnie Montrose had “I’M VERY AWARE THAT MUSIC IS A BUSINESS, BUT in New York.” In August
been able to find THERE’S ALSO A WAY TO GO ABOUT MAKING MUSIC 1972, Edgar gave
contentment a little Ronnie the chance to
more easily, perhaps THAT’S TRUE TO YOURSELF AS OPPOSED TO JUST GOING make his first mark in
he might still be with THROUGH THE MOTIONS AND MAKING THINGS THAT hard rock history.
us. Instead, tragically, WOULD JUST BE COMMERCIALLY SUCCESSFUL.” “I met Edgar and a
on 3 March 2012, his week later we were
life ended with a self- RONNIE MONTROSE playing in big college
inflicted gunshot wound houses,” said Ronnie.
to the head. He’d been stalked by clinical depression since “It was amazing for me because I didn’t really have the
his earliest days and was just 64 years old. chops at the time… I had a limited vocabulary, but what I
His wife and manager Leighsa Montrose later told did was, I guess, very effective for what was needed.”
Guitar Player magazine: “Ronnie had a very difficult Those chops saw Ronnie playing lead guitar on The
childhood, which caused him to have extremely deep and Edgar Winter Group’s now-platinum 1972 album ‘They
damaging feelings of inadequacy. This is why he always Only Come Out At Night’, which was home to two
drove himself so hard. He never thought he was good classics, ‘Free Ride’ and ‘Frankenstein’. Soon, though,
enough. He always feared he’d be exposed as a fraud. So friction between Winter and Ronnie led to the latter
he was exacting in his self-criticism, and the expectations leaving the band in the spring of 1973. Ronnie later
he put upon himself were tremendous. Now I see that explained: “I needed a creative vehicle to be something
perhaps he didn’t want to carry these burdens for very that I could drive myself, as opposed to being in
much longer.” someone’s band and working for someone.”

RONALD DOUGLAS Montrose was born in San Francisco
on 29 November 1947, but grew up in Denver, Colorado
after his parents moved there. The details of the “difficult
childhood” alluded to by Leighsa are not in the public
domain, but what we do know is that they were enough
to persuade the 16-year-old Ronnie to quit the family
home and return to the San Francisco Bay Area to plot a
life as a hippie musician.
Ronnie started playing guitar in earnest at 17 – initially
Photo: Rich Galbraith
THE CREATIVE vehicle Ronnie put together comprised
his old bass buddy Bill Church, powerhouse drummer
Denny Carmassi, and a singer named Sammy Hagar.
Each member tells a different version of how the band
came together, but all agree that Ronnie was impressed
with Hagar’s voice, his Robert Plant-like image, and his
ability to write both tunes and lyrics. For his part, the
singer was impressed by the guitarist’s work with Edgar
Winter, whose album was still Top 10 in the US, as well as

borrowing friends’ instruments because he couldn’t
afford one of his own. Although inspired by seeing the
Jeff Beck and Jimmy Page line-up of The Yardbirds,
and also by Cream and Jimi Hendrix, Ronnie began his
professional career in a folkier vein, joining a band called
the fur coat Ronnie wore when scouting Sammy in a San
Francisco club.
Ronnie called ‘Tupelo Honey’ producer Ted Templeman
to let him know he’d put a band together. Although The
Edgar Winter Band’s label, Epic, was keen to sign the

77
 FEATURE INSIDE STORY
four-piece, the race was eventually won by Warner Bros.,
where Templeman had some influence after producing
hits for the label by Van Morrison and Little Feat.
Before recording of a debut album began, Bill Graham
financed a demo, and Ronnie’s still nameless outfit – billed
as Ronnie Montrose And Friends – made their public debut
live on KSAN radio on 21 April 1973. Hagar subsequently
proposed the name White Dwarf after a certain type of
star. Carmassi agreed with the choice. Church
didn’t really want to be in a band named
after any one member, but wanted to stay
on Ronnie’s good side. The guitarist had the
casting vote, so Montrose it was.
That early flexing of Ronnie’s leadership
muscles set a precedent, but nevertheless
he was happy to share the writing credits on
what became the ‘Montrose’ debut. Although
fast becoming an excellent guitarist, Ronnie
still needed a foil to write songs and lyrics. He
was also delighted with Ted Templeman and
his engineer Donn Landee, who both helped
the band to reproduce the crunching sounds
of contemporaries Led Zeppelin and Deep
Purple. Landee – who would later receive
high praise from Eddie Van Halen and build
the guitarist’s 5150 home studio for him –
significantly toughened the guitar. As Ronnie
recalled: “You’ve got to remember that this
was 1973… Studios used live echo chambers –
rooms that had speakers and microphones in
them. And Donn would go crawling around in
these rooms and spread out packing blankets
to dampen the frequencies and create the
sounds we wanted.”
The guitarist relished the chance to play
loud and multi-tracked – something he’d
never been able to do in a studio before – and
after just three weeks Montrose had made
their genre-defining debut, each track a
classic – from first number ‘Rock The Nation’
right through to closer ‘Make It Last’.
MONTROSE HIT the road, opening for Black
Oak Arkansas among others in the US, and
in the spring of 1974 came to Europe and the
UK to open for Status Quo. The band also
played a memorable opening slot on a seven-
band bill in London when The Who headlined
Charlton Athletic’s football ground, The
Valley, on Saturday 18 May.
Pretty soon, though, tensions began to rise within the
ranks because Ronnie didn’t want anyone to upstage him.
“Why do you think Sammy never played guitar in
Montrose? He just flat wasn’t allowed to. Ronnie wouldn’t
allow it, period,” said Church. “The other thing Sammy
wasn’t allowed to do was talk to the audience between
songs. Can you imagine that, the way he is?!”
In retrospect, these notions seem self-destructive,
particularly given that much of the debut featured multi-
tracked guitars and that Hagar thrived on engaging with
an audience. But Ronnie considered himself the driving
force and the star – even though the singer was front
and centre. He gave Hagar explicit instructions to stay
where he was and not to move towards the audience or
obstruct the crowd’s view of him.
78
Church has said that a fundamental turning point in
Ronnie’s relationship with Hagar was when the band went
to New York in early 1974 to confront their heavyweight
but largely absentee manager – the legendary Dee
Anthony – about the band’s lack of income: “Ronnie was
leader, so he talked. Our complaint was that Uncle Dee, as
we called him, was supposed to take 20 per cent and he’d
been taking 50 per cent. He just turned around and said,
‘Well, I always contract at 20 per cent with
everybody, but I take 50 per cent because if
you don’t let us, [powerful booking agent]
Frank [Barsalona] and I will make sure you
guys never work…’ Then he turned to Sammy,
right in front of Ronnie, and said, ‘Young man,
you’re gonna be a star!’ Of course, Sammy’s
ego ballooned, and Ronnie was p*ssed off.
That was the rift right there, and the band
wasn’t even together a year at that point…”
From Hagar’s point of view, matters came
to a head recording the band’s second album.
“Ronnie wanted to sing a song [‘We’re Going
Home’], he wanted to do an instrumental [‘One
And A Half’, ultimately saved for the third
album]. He really just wanted to shut me out.
We had one record that was a flop… by the
time we started our second record it hadn’t
sold 50,000 copies. Ronnie wants to co-
produce with one of the greatest producers of
all time, Ted Templeman…”
Bassist Church told band biographer Martin
Popoff that the original line-up recorded a
heavier version of their second album, ‘Paper
Money’, but this was subsequently “re-edited”,
“whitewashed” and “lightened” with a couple
of different songs including ‘Paper Money’
and the Rolling Stones cover ‘Connection’.
Ronnie insisted: “I’m going through a process.
I’m doing each record for what it is. I can’t
continually do the same thing.”
Ultimately, aside from one incendiary song
called ‘I Got The Fire’, the ‘Paper Money’
album sounds like a step in the wrong
direction. According to Hagar: “Ronnie
thought we were doomed. He thought we
were way too late and were never going to
make it… We headlined San Francisco and we
headlined Paris. We did OK in London, and
we did OK in Germany. Everywhere else we
were an opening act.”
RONNIE’S “PROCESS” for the second album saw him
dismiss his long-term friend Church, replacing him with
Alan Fitzgerald because Fitzgerald could also play
keyboards. Even then Ronnie was looking to the future,
as he always would, and saw keyboards as the way to
go. Released in October 1974, ‘Paper Money’ initially sold
better than ‘Montrose’. But after the tour to promote it,
Hagar was replaced by an unknown singer named Bob
James. James was first heard on Montrose’s 1975 third
album ‘Warner Bros Presents Montrose!’ (featuring the
standout tracks ‘All I Need’ and ‘Dancin’ Feet’) on which
the line-up expanded to a five-piece with the addition of
a tech-head keyboard player Jim Alcivar. The following
year saw the release of the Jack Douglas-produced
‘Jump On It’, on which Fitzgerald was deemed surplus
to requirements (Alcivar Although he wasn’t born
played most basslines on for stardom like Sammy
a keyboard) and only the Hagar, Davey Pattison
title track and ‘Let’s Go’ was key to the success
echoed the first album. of Gamma, which really
In three years Montrose was Ronnie’s other great
released four albums, band. Late in 1978, Ronnie
each moving further from tried to persuade James
the sound of the debut, Dewar – the singer on
and – despite some stellar Robin Trower’s first eight
moments – the overall albums – to work with
quality dipped. In the end, him. Dewar declined, but
Ronnie simply folded the recommended Glasgow-
band and went in a totally born Pattison. Pattison
different direction. (who would subsequently
Jeff Beck remained appear on eight of
a primary influence so, Trower’s post-1970s
perhaps inspired the albums) was just two
Englishman’s splitting of years older than Ronnie
his group to make 1975’s and had a soul/blues
solo album ‘Blow By Blow’, voice pitched somewhere
in 1978 Ronnie released between Paul Rodgers
‘Open Fire’ – a solo work of and Lou Gramm. A tape of
instrumental rock and jazz recordings Pattison made
fusion. It surprised almost in London with producer
everyone, but Ronnie Matthew Fisher (ex-
insisted: “I was following Procol Harum) reached
my muse and I was very Bill Graham, and Pattison
fortunate in having good duly took a flight to San
people around me…” Francisco in January 1979.
Those good people He was the perfect fit.
included Edgar Winter “I’d given up all hope of
(who produced and finding a quality singer
played keyboards) for Gamma until I heard
and recent Montrose Davey Pattison,” said
bandmates Fitzgerald Ronnie. “He arrived with
and Alcivar. ‘Open Fire’ “I LEARNED SO MUCH FROM RONNIE MONTROSE, a notebook full of lyrics
earned Ronnie an invite to IT’S RIDICULOUS. HE TAUGHT ME WITHOUT and began co-writing the
play alongside celebrated Gamma hits, ‘Thunder
EVEN TRYING… I LEARNED AS MUCH FROM
jazz/fusion drummer And Lightning’, ‘No Tears’,
Tony Williams, but the HIM ON GUITAR AS I EVER LEARNED FROM and ‘Razor King’ for the
album was a commercial EDDIE VAN HALEN.” band’s first album.”
disaster and ended his Gamma ‘1’, released
relationship with Warner
SAMMY HAGAR on Elektra in July 1979,
Bros. – as the guitarist was the first in a series
surely knew it would. At the time he argued: “I’d gotten of albums whose covers neatly bore the same basic
tired of working, touring, and the whole process of doing logo, revised beside the numerical title in superscript. It
vocal-oriented music. Attempting to write vocal-oriented fulfilled Ronnie’s vision of melding guitar to the futuristic
songs, to me, felt like going through the motions…” sounds made by Kraftwerk and Tangerine Dream; acts
he was listening to at the time. Bucking the trend of rock
NEVERTHELESS – AND perhaps unsurprisingly for such bands shunning electronica, he and Alcivar were proud
a contrarian – Ronnie’s next project saw him putting to proclaim on the inner sleeve of the first Gamma album:
another vocal band together called Gamma. Encouraged “There are GUITARS AND SYNTHESIZERS on this album.”
by Bill Graham, by then acting formally as Ronnie’s Although recorded as a studio project, songs from ‘1’
manager, the guitarist opted to follow his fascination worked well live, where Graham pulled strings to get
with new sounds made available by technology – but the new band support slots that put them in front of big
to do so with a singer. From his solo album he retained audiences. The album spawned a moderate hit single – a
Alcivar with whom he’d bonded as a fellow electronics cover of ‘I’m Alive’, a number one for the Hollies in 1965 –
fanatic. Both were continually modifying circuit boards and made it to number 131 on the US Billboard chart.
with soldering irons to create new synthesized sounds. Ronnie was proud of Gamma: “We’re a vocal-oriented,
Ronnie had hired a $15,000 vocoder machine during high-powered band,” he said. “I’m working with the best
the ‘Jump On It’ sessions. Alcivar subsequently built two vocalist I’ve ever worked with, one who comes from
equivalents for $1,000 – one for him, one for Ronnie. a background of blues and rock. There’s more of the
On bass, Fitzgerald (later to play keys in Night Ranger) synthesizer element than I’ve ever had in a band.”
returned, while Skip Gillette played drums. “We toured constantly in America, Europe, all over the
Ronnie also enlisted former Beatles engineer Ken Scott damn place for months on end,” said Pattison. “Ronnie
as producer – impressed by his work with Dixie Dregs. was well established, the focal point of the band…”
The most crucial piece of the jigsaw, though, came late. When Gamma opened for Rainbow, that band’s

79
 FEATURE INSIDE STORY
guitarist Ritchie Blackmore was impressed and sought
out Gamma’s leader to tell him so. Soon, recalled Ronnie,
“we realised neither one of us had done a record with the
same line-up in a row… For me it’s just a situation where I
don’t want to make the same record twice…”
KEEPING TO that
principle, for their
sophomore effort
‘2’, released in 1980
and produced by
Gary Lyons, Gamma
duly changed style
and personnel,
pairing a new bassist,
Glenn Letsch, with
a returning Denny
Carmassi (the
drummer on two
Sammy Hagar
albums since
leaving Montrose).
Recording at San
Francisco’s Automatt
studio, Ronnie
was once again at
the cutting edge,
treating his guitar
as a synthesizer
The classic Montrose line-up. L-R: Ronnie Montrose (guitar),
using “hexaphonics”. Denny Carmassi (drums), Bill Church (bass), Sammy Hagar (vocals)
Letsch outlined: “A
hexaphonic pickup is
a six-pickup pickup. So each string has its own pickup,
and each string goes to its own amplifier. Ronnie would
spread those six amplifiers in a semi-circle, and he had
six microphones on it…”
Such technology has become commonplace since but,
typically, Ronnie was an early adopter.
Gamma’s sound became slightly heavier, except on
the single – a cover of Thunderclap Newman’s 1969 UK
chart-topper ‘Something In The Air’. Most critics and
fans believed that, unlike the band Montrose, Gamma’s
second album bettered the group’s debut – from opener
‘Mean Streak’, through ‘Four Horseman’ and ‘Dirty
City’, to the slower bluesy tour-de-force ‘Voyager’ (an
unexpected FM radio hit) on which both Pattison and
Ronnie really shine. Those songs worked well live, too,
and when an encore was required, Ronnie would allow
Gamma to dip into the Montrose back catalogue with
‘I Got The Fire’. The album broke into the Billboard Hot
100, peaking at 65, helped by Graham securing Gamma
support slots with AC/DC on their ‘Back In Black’ tour.
AS EVER, for the third Gamma album, Ronnie was keen to “Ronnie was always changing. When you look back on
modernise. He connected with synthesizer player Mitchell
Froom (later to produce Eddie Money, Crowded House,
and Sheryl Crow), a friend of lyricist Jerry Stahl, who
co-wrote two songs on ‘2’. Froom took over from Alcivar
and the band’s sound changed significantly. In refusing
to repeat himself, Ronnie was, ironically, doing to Gamma
what he did to Montrose. With exceptions such as ‘Moving clash with a frontman, of course. But the observations of
Violation’ and ‘Mobile Devotion’, ‘3’ moved Gamma from
blues and rock to electronic new wave. Not that Ronnie
cared: “People either like the first, the second, or the
third. I don’t know a lot of people who like all three.”
80
Bassist Glenn Letsch recalls: “Jerry and Mitchell had
a bunch of writing ideas… and so the sound changed
considerably because Mitch wrote on keyboards.”
Ronnie’s guitar remained audible – notably on closer
‘Third Degree’ – but chiefly in a supporting role to the
synthesizers. The
input of Froom and
Stahl also ended
Pattison’s role as a
songwriter, changing
the chemistry of the
band irrevocably.
Released in
February 1982, ‘3’
spawned a single,
‘Right The First Time’
that helped the album
climb to number 72
on the US Billboard
chart. This time
around Graham got
Gamma a prime slot
opening for Foreigner,
whose ‘4’ album
was already multi-
platinum. But not
long into a six-week
run of big European
venues, things started
to unravel. Ronnie
apparently clashed
with Foreigner’s Mick
Jones over the facilities and stage-time being granted to
Gamma but, more significantly, Montrose was feeling the
overall pressure. He said later: “I’m very aware that music
is a business, but there’s also a way to go about making
music that’s true to yourself as opposed to just going
through the motions and making things that would just
be commercially successful. I think that Gamma got to
that point through management and label and the whole
deal, and it didn’t feel right so I stopped it. Period.”
And so Gamma simply left the European tour – early –
and didn’t take up the option of the US leg.
Pattison was relieved: “I got my own band together.
Touring with Gamma was far from glamorous, it was very
lonely… The only human connection you have is with the
other guys in the band. I didn’t like stadium gigs at all.”
He had some sympathy with Ronnie, though: “He could
be difficult from day to day… but I never experienced too
many problems with him. I guess it was the nature of the
business, basically… It was his record deal, so he’s under
the gun, he’s got to deliver and there’s the stress of that.”
Carmassi, also abruptly out of work, later reflected:
it, you can see it. He always had this thing about singers.
I don’t think he ever got along with any of them that
I played with. That I know. There was always conflict.
He had a hard time with sharing the spotlight, or being
gracious about it…”
Ronnie was neither the first nor the last guitarist to
Carmassi (who then joined Heart for an 11-year tenure)
point reliably to what Ronnie did next… He turned his
back on major label deals and commercial pressure
completely and became an independent artist.
 RONNIE’S publishing. Ronnie told
SUBSEQUENT career me to start my own
took many turns, but publishing company
it was always relatively and he allowed me to
low-profile. He chose do that… The songs
to follow his muse I wrote on the first
and, largely, finance it two Montrose records
himself. Initially, that supported me through
led him to a US club hard times and I will
tour as a duo with never forget that as
Froom. In 1986 the long as I live.”
pair, and many others, While working on
worked on Ronnie’s ‘Bearings’, Ronnie met
second solo album, singer Keith St John,
‘Territory’, that featured with whom he worked
mainly instrumental off and on until the
jazz fusion numbers. end of his life in 2012.
The following year, St John introduced
seemingly just for Ronnie to Kiss and
devilment, Ronnie Alice Cooper drummer
Ronnie together with Gamma vocalist Davey Pattison in 1982: “I’d
played a tour of US given up all hope of finding a quality singer until I heard Davey.”
Eric Singer and ex-
clubs with a band he Babys/Bad English
called Montrose that bassist Ricky Phillips,
gave him an opportunity to flex his rock muscles once and in 2003 Singer, Phillips and Montrose spent three days
again. Other than his, the only familiar name in the line- in a studio laying down backing tracks for what Ronnie
up was ex-Gamma bassist Glenn Letsch. Six months later envisaged as his ‘10x10’ project – 10 new songs each
after the tour ended, Ronnie decided to record some of sung by a different singer. Sammy Hagar, Edgar Winter,
the new songs the group had written and enlisted two and Davey Pattison volunteered their services.
members of a support act that had impressed him – Then the cruel hand of fate intervened. Ronnie was
singer Johnny Edwards (later of Foreigner) and drummer diagnosed with prostate cancer in 2007. Although he
James Kottak (who’d go on to play with Kingdom Come reportedly went a couple of years without playing guitar
and the Scorpions) to record a fifth Montrose album, at all, he had managed to overcome the disease at the
‘Mean’. It reached number 165 on the Billboard chart, time of his suicide.
but other than the track ‘M For On 27 April 2012, a memorial
Machine’ (conceived for, but not concert to celebrate Ronnie’s
used in, the RoboCop movie life took place at San Francisco’s
soundtrack), the music was Regency Ballroom. In September
unremarkable. Having spent just 2017, ‘10x10’ finally emerged.
two weeks recording it, Ronnie Both were star-studded tributes
viewed it as a one-off. whose line-ups underlined the
After that, Montrose embarked love and respect Ronnie had
on what became a series of earned over his whole career.
seven mainly instrumental and It’s not hard to see the bands
experimental solo albums – and Ronnie Montrose influenced.
worked as a session musician Gamma redefined the way
whenever a project appealed to guitars could sound in rock
him. It’s hard not to view those bands years ahead of Rush and
albums – and even the 2000 Yes. Montrose directly inspired
reboot of Gamma for ‘4’ – as Van Halen and pretty much
incidental codas to a recording all the US metal bands that
career that effectively ended followed. The ‘Montrose’ debut
with 1999’s acoustic guitar set was a template for many, but for
‘Bearings’ – the final solo release the purist and innovator who’d
of his lifetime. driven the album’s creation it
Before then, though, there was a touching 1997 was anything but a template, rather a springboard for a
intervention by Sammy Hagar, who reunited the original lifelong creative quest. Not long after Ronnie’s passing,
Montrose line-up to record ‘Leaving The Warmth Of The his wife Leighsa issued a family statement about her
Womb’ for his 10th solo album, 1997’s ‘Marching To Mars’. late husband that said as much: “Ronnie loved being a
That experience ultimately led to the handful of live guitarist, a composer, a producer, and a creator of magic.
Montrose reunions in 2005. For Hagar, it was a case of He fully understood his gifts, and yet he constantly
Photo: IconicPix/David Plastik

rebuilding a friendship and repaying a debt.
“I learned so much from Ronnie Montrose, it’s
ridiculous,” he said. “He taught me without even trying…
I learned as much from him on guitar as I ever learned
from Eddie Van Halen… Writing, arranging a song and
all that. As much as we ego-tripped and argued until
I got thrown out of that band, he encouraged me as a
songwriter. I also had no idea, on a business level, about
pushed himself to evolve, improve, and make better
music. He did this for himself, and he did this for you,
because he adored and appreciated his fans. Please keep
his energy, his joy, and his love in your hearts.”
With grateful thanks to Martin Popoff, author of the
definitive work about Ronnie Montrose, Rock The Nation:
Montrose, Gamma And Ronnie Redefined (Wymer, 2016).

81
 FEATURE RAPID FIRE RECALL

GEORGE
LYNCH
THE GUITAR WIZARD DISCUSSES DIFFICULTIES WITH DON DOKKEN, HIS ATTEMPTS
TO FIGHT FOR SOCIAL JUSTICE, AND AN UNLIKELY MUSICAL PARTNERSHIP WITH
CHRISTIAN MUSICIAN MICHAEL SWEET…

82
 THE PAIN OF LEARNING THE GUITAR perforations and the audience could see his junk! And
“I started learning at 10 years old in 1964 and it wasn’t when he went to play the flute, the lighter fluid dribbled
fun; it was a painful and arduous task. Back then down his chin and he caught fire rather than the flute!
we didn’t have good, inexpensive guitars, and the It’s safe to say at that point we didn’t really know what
inexpensive guitars that were available were virtually the band identity was!”
unplayable. It was not a friendly instrument. You had to
fight it and it took me a couple of years even to get to GENE SIMMONS
the point where I could get any pleasure out of making “The Boyz morphed into Xciter with another singer,
chords and playing songs. You couldn’t learn from the Greg Sanford, and that band was much more together,
Internet, so you had to take lessons in a local music store a lot tighter and with better songs. We played the
and learn to play a little melody on one string from a Southern California circuit over and over again, and
guitar book with simple tablatures. I don’t know how I Gene Simmons ran into us at [renowned Sunset Strip
kept the motivation.” rock club] Gazzarri’s. He said, ‘I want to talk to you guys
about maybe doing something.’ He brought Ace Frehley
TAKING A TWO-YEAR BREAK FROM PLAYING down to see us at our next show at the Starwood.
“By the time I was 16 I’d become a pretty good player and Unfortunately, the night they came we were opening for
was ‘The Guy’ in my town. There were guys from other Van Halen! You couldn’t really compete with Van Halen
places who were good too, and we’d have these parties in 1977. We were good, but I wasn’t Edward Van Halen,
where we all played guitar. All our friends would show our singer wasn’t David Lee Roth, and our songs weren’t
up and we’d be very competitive, battling against each as good as theirs, so a relationship with Gene didn’t
other almost like rappers do now. It was very serious, develop. But that night he did tell us that our names
and it forced me to get better. Eventually, I thought were really dumb and that I’d never make it with a name
I’d found my own voice and had some fire, but then like George. And right off the top of his head he told
my very strict parents became disillusioned with my me I should be Jon Lynx, and then proceeded to name
behaviour. I’d grown my hair long and had drunk some everyone else in the band – Adam Wolf, Trevor Roxx,
beer; normal stuff Nikki Thunders. So I
by today’s standards. “I’VE BEEN INVOLVED IN ENVIRONMENTAL, SOCIAL, AND suppose at least we
But as a punishment ECONOMIC JUSTICE ISSUES FOR A LARGE PART OF MY LIFE, got something out of
they cut my hair, meeting Gene.”
took my guitar away AND IT’S FATIGUING. IF YOU HAVE A PROGRESSIVE
for two years, and VIEWPOINT, I THINK YOU PAY A HIGH PERSONAL PRICE.” DOKKEN THE BAND
sent me to live with “On the circuit
my very, very strict godparents in Northern California. with Xciter we’d occasionally play with a band called
It was a very rugged life of hunting and farming, which Airborn, and Don Dokken was the singer. He’d come up
I actually loved. When I finally got back to the family to me once in a while and we’d shoot the sh*t, and then
home and my guitar a couple of years later, I picked up eventually he asked me if I’d be interested in recording
my 1960 Gibson Les Paul with the strings all rusty and my with him because he liked some of my songs. He said
brother said, ‘You’re not very good anymore.’ That broke he’d come over to my place and we’d work something
my heart, so I dedicated myself to getting back in the out, but he never showed up. A few months or maybe
saddle. I reinvented myself as a player, but somehow it even a year later, I finally heard from Don again and he
was different. I couldn’t play like I did before, and I always asked me if I wanted to form a band with him. So Mick
regretted that. I wonder what would’ve happened had I Brown and I joined with Don, and we became Dokken.
remained consistently attached to my instrument. I think I We went to Europe, recorded a debut album, started
would’ve been a different guitar player now, maybe better.” touring, and that’s how the whole thing started. The first
couple of Dokken albums featured a lot of the Xciter
THE BOYZ stuff reworked. Eventually, we started to understand
“I’d played in a bunch of groups before The Boyz, but how all this had happened. Don had originally signed a
that band was the first one that got me to Hollywood. I deal – I think it was a publishing deal – as the writer and
was back living in Northern California during the hippy the owner of the songs. He got an advance and kept
era, and had met [drummer] Mick Brown by that stage. the money, so the band started out based on a lie. Now
We used to jam at our bass player Monte Zufelt’s house, Don was a hustler in a way that the rest of us weren’t. He
but there was nothing going on up there and we soon was always going to find a way forward in a manner that
decided we had to go to Hollywood. So we loaded we were not. We’d bounced around the LA circuit and
Interview by Howard Johnson. Photo: Christopher Carroll

up our truck and headed for Beverly Hills. We had no were probably going nowhere, but Don was tenacious
money and ended up living in a rehearsal room without and was willing to do things we weren’t willing to do. In
a bathroom in a really bad part of town, shoplifting food a way he did our dirty work for us, and that’s the way he
and getting our girlfriends to buy us sh*t. The Boyz understands it and the way he justifies it. I think it was
started coming together with this singer who looked like wrong, but it did get us somewhere.”
Robert Plant called Michael White [who was, ironically,
later signed to Atlantic on the recommendation of DON DOKKEN
Robert Plant]. But at the time I didn’t know he was called “The major problem I had with Don was that I strongly
Michael White, because he had so many different stage felt the kind of business tactics he generally employed
names like Michael Star and Michael Wolf. Now Michael shouldn’t have been used against his own bandmates. I
insisted on playing flute in the band, though he was no wanted managers and lawyers who were pit bulls, and
Ian Anderson. But at least he taught himself how to blow who would go out and do whatever they needed to do
fire out of the flute, which was pretty cool. But when we to get us where we wanted to go. But I didn’t want that
went to play gigs he would insist on wearing pants that negative energy directed towards me. I can’t deny
looked like women’s tights. His pubes stuck out of the that the way Don’s built really helped. That was very

83
 FEATURE RAPID FIRE RECALL
important in helping us achieve the success we had, to Fortunately, Dokken’s label, Elektra, stuck with me, so
have careers that have spanned decades, and be able I still had a good piece of the machine. Q Prime went
to do this for the rest of our lives. And I appreciate that. with Don, though, so I didn’t stay with them. I found new
But I wouldn’t agree with Don’s methods, and I wouldn’t management and went searching to build the best band
be able to do that myself. When that attitude was turned I could. We looked around the world, we flew people in,
against us, I absolutely know it was wrong, and I also spent a year building the band, and then another year
felt it wasn’t necessary. But that’s how Don’s made, and making the first Lynch Mob record, [1990’s ‘Wicked
you need to know what you’re in for when you work with Sensation’]. It was liberating to be able to start over
someone like that.” and build a dream band, especially because we had the
resources and the
THE END OF time to do it. I
DOKKEN didn’t have to start
“There came a over and live in a
point somewhere dumpster with no
around 1988 money. It wasn’t
where Don what I would
decided that he have chosen to
was going to go do because I
off on his own and was dedicated to
be a kind of Bon Dokken. But the
Jovi figure rather band was forced
than a member of out from under
a band. He didn’t me, so I made the
want to share the best of it, built
spotlight with the best band I
anybody, and could, and got a
wanted all the fresh start.”
money for himself.
He’s somewhat of George onstage with Don Dokken, Wembley Arena, London, 13 April 1988 BAND
a narcissist and DEMOCRACY
that’s what drives “I really
him, so he felt he downplayed
was entitled to “THE MAJOR PROBLEM I HAD WITH DON WAS THAT I the fact that my
everything and STRONGLY FELT THE KIND OF BUSINESS TACTICS HE name was in
didn’t care if he the Lynch Mob
GENERALLY EMPLOYED SHOULDN’T HAVE BEEN USED
left us by the name. I owned
wayside. He didn’t AGAINST HIS OWN BANDMATES.” the underlying
have a conscience name for a little
about that, and that angered me because I felt he was insurance, but apart from that everyone in the band
missing the point of a band; the joy of playing with your owned everything. I wrote the music to the songs, but
brothers and coming up together, the challenges you I was comfortable with doing everything as a band and
overcome together, all the things you go through. You splitting everything equally. I didn’t make a dollar more
have love for your bandmates, but he doesn’t understand than anybody else, and I didn’t even exert artistic control.
that. So we got to the point where he was ready to Truthfully, though, that did come back to bite me in
break off, and the gist of it was that he’d just hire guys the a*s, so I’ve since re-thought that band democracy
and would go on without us and we’d be left in the dust. dynamic. I’m the most liberal guy on the planet. [Left
But before that, I had to go out and tour with Dokken wing US politician] Bernie Sanders is far right compared
playing big Monsters Of Rock shows with Metallica to me! But there is a natural hierarchy in the animal
and Scorpions, all the while knowing this was going to world, and the human hierarchy conforms to the natural
happen. Our record company was about to renew an hierarchy. People have their place; they’re built to fulfil
expiring contract, we had really powerful management certain roles and do certain things and that’s how it is.
in Q Prime, and so we were about to be set up for the Not everybody is equal, so there has to be a pecking
rest of our lives and get a payoff for everything we’d order. I learned that the hard way, and we had a lot of
worked for over the previous 10 years. But suddenly Don problems with Lynch Mob as far as that was concerned. I
was going to take everything. That was a pretty massive should have held the reins more tightly.”
f*cking thing to do to somebody. And not to toot my
own horn, but I’d written most of the songs.” BEING CONSIDERED A GUITAR HERO
“I’m an ‘also ran’ guy. When I was coming up there were
Photo: IconicPix/PG Brunelli

LYNCH MOB
“I was completely demoralised playing those Monsters
Of Rock shows, and basically dragged myself on
stage liquored and drugged up. I did my thing, but
I’d lost my drive. I went out there with my back to the
audience and sort of went through the motions, I guess.
But eventually, I got myself together and moved on.
the four horsemen – Hendrix, Page, Clapton, and Beck. I
idolised those people and learned from them. Then you
had the second tier, the Johnny Winters and the Lesley
Wests and the Ritchie Blackmores. A couple of other
guys then came along and shifted the paradigm, people
like Eddie Van Halen and Yngwie Malmsteen, and I think
we peaked in the ’80s with the speed thing. After that,

84
honestly, what else do you need to say in that arena? I’m
in the mix, but I won’t be in the time capsule or anything,
and that’s OK. What I like is that there are now young
guys coming up who are just unbelievable. They’re
drawing from bebop, jazz, all kinds of different areas, and
are taking metal into cool new places. There’s this band
Polyphia who clearly came up with Steve Vai, but they’ve
now got rid of all the distortion and are combining
that style with hip hop in an instrumental format. Their
technique is just crazy, and it’s beautiful to hear. The
human mind is capable of reinventing things to an infinite
level and that’s just mind boggling. Me? I’m just happy to
have a small place
in the mosaic.”
MR SCARY
GUITARS
“Creating my own
custom guitars
that I build myself
is a natural by-
product of what I
do as a musician.
When I was a kid
playing in garage
bands, I would
always be pulling
guitars apart,
taking out the
sh*tty Japanese
pickups, cutting
and reshaping
them and Together with Michael Sweet: “I think Michael’s
repainting them. sensitive to the fact that I have different beliefs.”
I’ve been doing
that my whole life,
but I took the plunge and started the guitar company in
2011 when I had a health issue. I was in a wheelchair for
a little bit and couldn’t really get around, which was very
frustrating. My dad was an old school guy who believed
that when things go wrong you have to dig deep,
reinvent yourself, and find a way to survive and flourish.
He said to me, ‘Well, what else can you do? I remember
you used to go into the garage at home, take my tools
and do your guitar building thing. Can you do that?’ I
told him that I loved doing that, but didn’t know if I could he doesn’t believe in. We couldn’t figure that out, so the
do it well enough to make a business out of it. My dad
said, ‘Yes, you can,’ so that’s what I did. I started without
any formal training, doing everything in my backyard. My
paint booth was a lemon tree with a clothes hanger. My
workbench was two saw horses with a piece of plywood
on it, and I worked out there come rain, snow, or shine
with a couple of hand tools. It was beautiful. Now I have
a shop and everything’s a little more professional, but to
be honest I actually dug it more back then!”
SHADOW NATION
“I had a band called Shadow Train and wanted to spend
some time travelling around as a group putting into
practice the idea of advancing political activism through
music. I made a film called Shadow Nation [released
in 2019] focusing on the issues surrounding the Native
American population and the way our country’s political
system has been consistently prejudicial against them.
We went to visit many people on all sides of the political
divide to try to learn for ourselves, and to try to find out
what the problems really were and hopefully understand
what the solutions might be. I was very, very passionate
about the project, but in the end we all wound up very
frustrated. We thought we could make a difference –
and we found that we couldn’t. I’ve been involved in
environmental, social, and economic justice issues like
this for a large part of my life, and it’s fatiguing. If you
have a progressive viewpoint, I think you pay a high
personal price. You’re swimming against the current
and it exacts a toll. The reward you’re looking for is
justice, but it often feels like you don’t see justice in your
lifetime. You want the right thing to happen and you’re
fighting the world for what you believe are the right
reasons. But you’re just not moving the needle. Still, my
director Mark
McLaughlin and I
are talking about
doing another film
that will be more
tightly focused
on the issues
affecting Native
American schools,
so maybe we still
have some fight
left in us.”
SWEET &
LYNCH
“I love Michael
Sweet, but I was
never really a
Stryper fan. The
thing is, though,
Michael has a
great voice,
and so we got
together in 2014
and have now finished our third album together, ‘Heart
& Sacrifice’. What really intrigued me about Michael was
his overt Christianity, because I’m an atheist, and so I
thought that was something we could mine, and explore,
and build on. I originally thought we’d make concept
records, that I would write from my perspective, and he
would write from his. But the problem we ran into was
that I don’t sing, and I couldn’t really ask Michael to sing
from my perspective, because that would be something
concept never really worked out and we just ended up
making regular records. And, of course, all of his lyrics
are about how much he loves Jesus and his wife – and
that’s fine by me. I think Michael’s sensitive to the fact
that I have different beliefs to him, so I think he tries to
make his Christian messaging a little more subliminal.
And, of course, I bust his chops about it. I’ll say, ‘Well,
that bit there sounds like it’s about Jesus.’ But it’s all
good-natured. Funnily enough, Stryper way back when
was one of the most decadent backstage experiences I’d
ever had in my life. Or at least I think it was. Maybe it’s
one of those things where you have a false memory. The
telling of a story gets more and more exaggerated over
time, and in the end it becomes a permanent memory,
even if it isn’t culturally accurate.”
THE FUTURE
“Honestly, what I kind of aspire to right now is being that
grizzled guy with a little amp and an old guitar in the
back of a pickup truck playing some blues and country
music in a little friggin’ bar way out in the desert. I think
that’d be pretty cool, don’t you?”
85
 PRODUCT CLASSIC ALBUMS REVISITED

CHEAP TRICK
‘DREAM POLICE’
DATELINE: 21 SEPTEMBER 1979
THE FOURTH ALBUM FROM THE OFF-KILTER ROCKERS WAS THE ONE THAT FINALLY
INTRODUCED THEM TO THE MAINSTREAM. IS IT STILL ROCKING OUR WORLD TODAY?

CHEAP TRICK
‘DREAM POLICE’
(Epic)
Released: 21 September 1979

LINE UP TRACK LISTING

ROBIN ZANDER – lead vocals,
rhythm guitar
RICK NIELSEN – lead guitar,
mandocello, backing vocals
TOM PETERSSON – bass guitar,
backing vocals, and lead vocals
on ‘I Know What Like’
BUN E. CARLOS – drums,
percussion
PRODUCED BY
Tom Werman
RECORDED AT
The Record Plant, Los Angeles,
California
Dream Police (Rick Nielsen)
Way Of The World (Robin Zander,
Rick Nielsen)
The House Is Rockin’ (With
Domestic Problems) (Tom
Petersson, Rick Nielsen)
Gonna Raise Hell (Rick Nielsen)
I’ll Be With You Tonight (Rick
Nielsen, Bun E. Carlos, Tom
Petersson, Robin Zander)
Voices (Rick Nielsen)
Writing On The Wall (Rick Nielsen)
I Know What I Want (Rick Nielsen)
Need Your Love (Rick Nielsen,
Tom Petersson)

RICK NIELSEN ON ‘DREAM POLICE’: “Robin’s vocals on the album are easily his best. On ‘Voices’ he gets that eeriness where most singers
would just go over the top. Then on ‘Gonna Raise Hell’ his voice has that brutish scream of a hell-fire preacher; exactly what I was aiming for.”
86
 THE FOURTH STUDIO ALBUM from the band out of unashamedly Beatles-y in terms of structure and melody.
Rockford, Illinois appeared at a strange time for Cheap But had the Beatles themselves recorded the song,
Trick. Most of the recordings for ‘Dream Police’ had been then it would have been universally hailed as a
completed by early 1979, but the unexpected worldwide masterpiece. Producer Tom Werman goes all-in
success at that point of what was originally a Japan-only production-wise here, with lovely strings and multi-
live album, ‘Cheap Trick At Budokan’, pushed the release layered harmony vocals, while an uncredited Steve
back. None of the band’s previous studio albums had Lukather of Toto adds washes of acoustic guitar and
broken the Billboard Top 40, but ‘…At Budokan’ went endless pretty electric patterns that happily reveal his
all the way to number four, meaning the pressure was deep affection for George Harrison’s playing.
suddenly on to ensure It was this super-lush
continued success. and slightly other-
It must have been worldly approach to
tough for the band to the song that made
keep faith in songs ‘Voices’ such a treat,
that were recorded but it’s also possible
before success hit. that this hindered the
The temptation to try tune’s progress up
to write tunes to fit a the charts. It stalled
new reality would’ve at number 32 on the
been huge. Perhaps Billboard charts. Cheap
even more so because Trick would eventually
‘Dream Police’ had a score a US number
new sound, seemingly one in 1988 with ‘The
less commercial than Flame’, written by
what had come before. Guitarist Rick Nielsen (left) and vocalist Robin Zander British songwriters
Two numbers – ‘Gonna creating “something unique and ridiculously catchy.” Bob Mitchell and
Raise Hell’ and ‘Need former Atomic Rooster
Your Love’ – were long member Nick Graham.
and complex. One
THE GREATEST WEAPON THE BAND HAD IN THEIR The song was much
song, ‘I Know What I ARMOURY WAS THE ABILITY TO WRITE A BALLAD THAT more in tune with the
Want’, had a riff and WAS BOTH DIFFERENT TO THE STANDARD AOR TAKE hair metal balladry of
structure that might the time, but for my
have been recorded ON THE FORM AND YET ALSO BEAUTIFULLY money it can never
by AC/DC. It didn’t MELODIC AND HIGHLY MEMORABLE. match ‘Voices’ for
sound like Cheap Trick, pure artistry.
especially because it was sung by bassist Tom Petersson Still, the mix of songs that made up ‘Dream Police’ –
rather than recognised voice Robin Zander. ‘Writing On together with a strong album-related band image that
The Wall’, meanwhile, was throwaway, a song that sounded saw Zander, Nielsen, Petersson, and drummer Bun E.
like the band’s hero Jeff Lynne in The Move, but without Carlos appearing in promo shots dressed in all-white
the charm. And the title track, while blessed with a divine police uniforms – proved to be a winning formula. The
melody, also featured some weird string arrangements that album roared up to number six on the Billboard album
appeared contrary to the song’s commercial potential. charts, and was confirmed platinum not long after. Cheap
Trick had finally moved from the sidelines of rock into the
FOUR OF those numbers have clear artistic merit, but big-time. That’s not where the band would stay. They’d
nevertheless that’s five of the album’s nine tracks that go on to have both bigger releases and less successful
you could have imagined an Epic Records A&R guy being records, probably because their innate quirkiness
less than enthusiastic about. This, after all, was a project was something they couldn’t (or wouldn’t) deny. And
designed to take Cheap Trick to the next level. quirkiness tends not to sit well with the mainstream.
Fortunately for all concerned, ‘Dream Police’ contained
a number of genuinely classic Cheap Trick songs, tunes ‘DREAM POLICE’ contains four songs – ‘Voices’, ‘Way
that perfectly married the group’s obsession with Beatles Of The World’, ‘I’ll Be With You Tonight’, and ‘Need Your
vocal melodies delivered to the highest of standards Love’ – that I’d want to see in any setlist of Cheap Trick’s
by Zander, and guitarist Rick Nielsen’s deep knowledge greatest moments. It’s got four other pretty damn good
of Chuck Berry’s rock’n’roll riff catalogue. ‘Way Of The tunes, and just one duffer. Forty-four years after it was
World’, ‘The House Is Rockin’ (With Domestic Problems)’, first released, that surely makes it a work that’s more than
Photos: Timeless Concert Images/Bill O’Leary

and ‘I’ll Be With You Tonight’ are prime examples of how
two musical elements brazenly filched from elsewhere
could meld into something unique and ridiculously catchy. HOWARD JOHNSON
All of this alone maybe would have added up to an
album with enough radio-friendly material to move the
dial for Cheap Trick. But the greatest weapon the band
had in their armoury was the ability to write a ballad
that was both different to the standard AOR take on the
form that dominated US airwaves at the time, and yet
also beautifully melodic and highly memorable. ‘Voices’
is the only ballad on ‘Dream Police’, but what a song it is.
It’s kind of woozy and dreamlike, and it’s undeniably and
stood the test of time.
ORIGINAL REVIEW
“Cheap Trick’s albums have an immediacy that counts
for a lot. Their songs are ingenious: cunningly simple,
inscrutably clever. But ‘Dream Police’, like ‘Heaven
Tonight’, seems to steadily pale. They’ve lost some of the
drive and desperation of the underdog that you could
find on ‘Cheap Trick’ and ‘In Colour’.”
Paul Rambali, NME, 22 September 1979

‘DREAM POLICE’ FACT: Back in 2010, Cheap Trick re-recorded the song ‘Dream Police’, re-naming it ‘Green Police’ for the soundtrack to
an Audi A3 TDI clean diesel commercial that aired during Superbowl XLIV.
87
 PRODUCT STRIKTLY FOR KONNOISSEURS
MONSTER ROCK ALBUMS FOR THOSE WHO NEED TO GO DEEPER
GILLAN – ‘Mr Universe’
(ACROBAT)
ORIGINAL RELEASE DATE – 1979
LINE UP
IAN GILLAN – VOCALS BERNIE TORMÉ – GUITAR
COLIN TOWNS – KEYBOARDS MICK UNDERWOOD – DRUMS
JOHN MCCOY – BASS
NOT ONLY IS DEEP Purple one of the groups that helped
found the heavy rock sound, but its members also went
on to enjoy success with many other acts including
Ritchie Blackmore’s Rainbow, Whitesnake, Paice Ashton
Lord, Captain Beyond, Warhorse, Hughes Thrall, The
Dead Daisies, and Gillan.
Ian Gillan, vocalist with the much-loved ‘Mark II’ version
of Purple, left the band citing fatigue and internal
tensions in the group, after touring 1973’s ‘Who Do We
Think We Are’. It was Gillan’s fourth studio album with
the group and Purple’s seventh overall. The singer then
tried his hand at a number of other ventures, including
managing a motorcycle racing team, before returning to
music with a jazz rock outfit, The Ian Gillan Band, and a
determination to distance himself from the banshee wail
he’d become famous for in Purple.
AFTER THREE uninspiring studio albums released
between 1976 and 1977, Gillan changed tack and returned
to heavy rock with a new band simply named Gillan.
Retaining keyboardist Colin Towns from The Ian Gillan
Band, Gillan added bassist John McCoy, guitarist Steve
Byrd, and drummer Liam Genockey, and released an
album, ‘Gillan’ – originally in Japan only – in 1978. After
then changing the line-up to include drummer Mick
Underwood – Gillan had played with him pre-Purple
in Episode Six – and highly rated Irish guitarist Bernie
Tormé, the new Gillan band reworked some of the
songs on ‘Gillan’, added new numbers, and released ‘Mr
Universe’ in 1979.
Tormé’s Hendrix-inspired wailing guitar style gave
the songs extra heft, and the album was an instant
success. The timing of ‘Mr Universe’ was good, because
it coincided with the advent of the New Wave Of British
Heavy Metal and the music press suddenly paying
88
attention to heavy metal again after ignoring it for years.
The record’s greatest strength is the way it seamlessly
welds progressive rock keyboard soundscapes with
furious metal. This is most clearly in evidence as the
opening neo-classical instrumental ‘Second Sight’ flies
into the proto thrash of ‘Secret Of The Dance’. There’s
plenty of light and shade throughout, ranging from
the power ballad ‘She Tears Me Down’ through to the
ravenous keyboard and guitar onslaught of ‘Roller’. The
six-minute title track has a distinct Deep Purple flavour,
while ‘Vengeance’ is a catchy rocker that provided
the band with a minor hit single. There are a couple of
perfunctory tunes included, namely ‘Dead Of Night’ and
‘Message In A Bottle’, but ‘Mr Universe’ ends in style with
the epic ‘Fighting Man’.
DESPITE THE album selling two million copies
worldwide, the band’s label Acrobat somehow managed
to go bust. Gillan quickly picked up another deal with
Virgin, though, and over the next three years became a
mainstay of the British charts. Unfortunately, the band
never replicated that success in the States. Bernie Tormé
left in 1981 to be replaced by Janick Gers, but the group
imploded at the end of 1982 amidst arguments over
Photo: IconicPix/George Bodnar Archive
money. Ian Gillan joined Black Sabbath the following
year, but by 1984 he was back in a reformed Deep
Purple. Janick Gers eventually joined iron Maiden, Colin
Towns went on to become a successful composer of
film soundtracks, while the other musicians ploughed
their furrows in rock’s lower leagues. In retrospect ‘Mr
Universe’ was as good as it got for Gillan, and those of
us who were lucky enough to catch that album’s line-up
performing live will never forget them.
Giles Hamilton
DAVID ROBERTS – ‘All Dressed Up’
(ELEKTRA)

ORIGINAL RELEASE DATE – 1982

LINE UP
DAVID ROBERTS – VOCALS, KEYBOARDS
STEVE LUKATHER – GUITARS
JAY GRAYDON – GUITAR OVERDUBS
JEFF PORCARO – DRUMS, PERCUSSION
MIKE PORCARO – BASS
GREG MATHIESON – KEYBOARDS
MICHAEL BODDICKER – SYNTHESIZER
DAVID FOSTER – SYNTHESIZER
OVERDUBS
GARY HERBIG – SAXOPHONE
PAULINHO DA COSTA – PERCUSSION
DAVID LEONARD – LINN DRUM MACHINE

YOU MAY NOT HAVE heard of West Coast as a musical
style, but nevertheless it’s a particularly interesting rock
sub-genre. Its roots can be found in the mid-to-late ’60s
jangly pop of The Byrds and the harmony overloaded
likes of The Beach Boys and The Mamas & The Papas. But
by the late ’70s it had developed into a mix of AOR, soul,
and jazz thanks to the many members of the burgeoning
California session scene who enjoyed playing it. Toto,
Airplay, and David Roberts are prime examples of artists
who played West Coast.
BORN IN Boston, but raised in Toronto, Canada, Roberts
first came to industry attention when he submitted a
demo to a radio station talent show. The songs caught
the ears of the WEA label, who promptly signed Roberts
in the late ’70s. His ‘All Dressed Up’ debut didn’t appear
until 1982, but beforehand Roberts added his vocals to
a slew of releases, including Lisa Dal Bello’s 1981 album
‘Drastic Measures’. By the time he entered Sunset Sound
studios in Los Angeles, he’d picked up-and-coming
producer Greg Mathieson (Laura Branigan, Toni Basil) to
help him craft a lush musical landscape.
Through Mathieson’s numerous connections in the
session world, Roberts was able to secure the services
of Toto members guitarist Steve Lukather, bassist Mike
Porcaro, and his drumming brother Jeff to form the
album’s musical bedrock, which is obviously a big plus
for any artist. Roberts was recording ‘All Dressed Up’ by
day while his Toto collaborators were recording what
would become their super-successful, Grammy-winning
‘IV’ album at night. Roberts’s ‘All Dressed Up’ didn’t
achieve the same commercial results, but his album has
since come to be recognised as an undiscovered classic
of the genre.
THE SURGING ‘All In The Name Of Love’ opens the
album in fine style, sounding like LeRoux and Maxus
duking it out over a hot cup of cocoa. ‘Someone Like
You’ delivers more LeRoux-style AOR, while ‘Too Good
To Last’ and ‘Boys Of Autumn’ slip into Christopher Cross
wimphem territory. The latter number, featuring a lazy,
hazy solo from Steve Lukather, provided Roberts with a
minor Canadian hit.
Unsurprisingly, there were more than a few hints of
Toto’s slick West Coast/soul hybrid sound that they’d
already developed on their own songs. ‘She’s Still Mine
(That’s My Girl)’, the slick ‘Wrong Side Of The Tracks’,
and the somewhat sugary ‘Midnight Rendezvous’ could
all be classified as sitting in this stylistic area. ‘Never
Gonna Let You Go’ provided more traditional AOR, and
album closer ‘Another World’ ended proceedings on
a soft rock note, but the album’s best-known song is
the super-slick ballad ‘Anywhere You Run To’, primarily
because it was covered by Diana Ross on her ‘Silk
Electric’ album that appeared the same year as ‘All
Dressed Up’.
ROBERTS WOULD go on to pen songs for Lee Aaron
(including ‘Only Human’) and Bad English (‘Tough Times
Don’t Last’), but it would be fully 26 years before he
would release his sophomore album, ‘Better Late Than
Never’, in 2008. There’s been no new music since, though.
Rob Evans

89
 PRODUCT ROCK CANDY REISSUES
CHECK OUT THIS HOT RE-RELEASE FROM THE LABEL
NIGHT RANGER
‘Midnight Madness’ ORIGINAL RELEASE DATE – 1983
LINE UP
BRAD GILLIS – guitars, vocals
JEFF WATSON – guitars
ALAN FITZGERALD – keyboards,
vocals
JACK BLADES – bass, lead vocals
KELLY KEAGY – drums, lead vocals
BACKGROUND
As the 1970s gave way to the ’80s,
San Francisco’s Night Ranger started
to emerge as one of the key acts
in a world where great songs were
allied to even greater musicianship.
That this band could rock hard
was not in doubt, and the quality
of their melodies soon saw them
competing with master blasters of
the era such as Journey, Boston, and
Loverboy. Memorable tunes perfectly
performed pushed Night Ranger into
the charts and won them kudos from
both critics and fans alike.
It isn’t hard to identify what else
made this band special. Brad Gillis’s
abilities as a guitarist made him one
of the most respected players of the
era, and led to a short stint playing
in Ozzy Osbourne’s touring band
in 1982 after the death of the much
loved Randy Rhoads. But it was in
Night Ranger where Gillis was most
at home, working alongside another
virtuoso guitarist, Jeff Watson. The
pair’s way with a twin-harmony lead
helped define the band’s sound.
Boasting two lead vocalists in
drummer Kelly Keagy and bassist Jack
Blades, and with a line-up that was
completed by keyboard player Alan
Fitzgerald, Night Ranger’s signature
sound brought the band immediate
Buy this album and tons of other great releases at www.rockcandyrecords.com
90
success with their impressive 1982
debut album ‘Dawn Patrol’. But the
following year’s ‘Midnight Madness’
was an even bigger hit, selling over
a million copies in the US alone, and
delivering three hit singles in ‘When
You Close Your Eyes’, ‘(You Can Still)
Rock In America’, and the mother
of all rock ballads, ‘Sister Christian’,
that peaked at number five on the
Billboard charts.
WHAT DRUMMER KELLY KEAGY
SAYS ABOUT ‘SISTER CHRISTIAN’
“It was about my sister, Christy. But
when I told Jack [Blades] what I
was going to call it, he misheard it
as ‘Sister Christian’. I kept telling
him it was ‘Sister Christy’, but he
couldn’t get it and was continuing
to call it ‘Sister Christian’. In the end
I just went with that title. When I
first mentioned I was working on the
song, I had virtually nothing written.
I had the line ‘You’re motoring...’ in
the bag, but none of the verses were
done, so it really was in a primitive
state. So changing the title to ‘Sister
Christian’ was no big deal.”
TRACKS TO CHECK OUT
Like the debut Night Ranger album,
‘Midnight Madness’ was produced
by Pat Glasser, who also worked
with Giuffria and Refugee. It features
a number of essential tracks, two
of which would become central to
the Night Ranger cannon. ‘(You
Can Still) Rock In America’ features
Deep Purple man Glenn Hughes on
backing vocals, and is a real call to
arms. ‘Sister Christian’, meanwhile,
has come to be acknowledged as
the band’s signature tune. ‘Touch Of
Madness’ and ‘Chippin’ Away’ are also
high-calibre numbers.
MORE BANG FOR YOUR BUCK
The Rock Candy CD is fully
remastered, with a 12-page full-colour
booklet, band interviews, enhanced
artwork, and detailed liner notes by
the late, great Malcolm Dome.
THE WORD FROM RC BOSS
DEREK OLIVER
‘Midnight Madness’ gives us a perfect
example of early ’80s hard rock,
offering melodic perfection in a world
where the ordinary had become the
norm. I was already convinced of
Night Ranger’s value after hearing
‘Dawn Patrol’, but ‘Midnight Madness’
provided the band with their major
breakthrough. Forty years later, the
group can still tour, powered by the
success of both ‘Midnight Madness’
and ‘Sister Christian’.
 ROCK CANDY PICKS
THE STUFF THAT’S GRABBED OUR ATTENTION
DAVID BOWIE ‘Ziggy Stardust And The Spiders
From Mars: The Motion Picture – 50th Anniversary’
(PARLOPHONE)
WHAT’S THE legendary Bowie producer Tony Visconti.
STORY?
DA WHAT DAVID BOWIE SAID ABOUT THE
Pennebaker’s CHARACTER OF ZIGGY…
original “I used the trappings of Kabuki theatre,
movie of mime technique, and fringe New York
David Bowie’s music. Ziggy was an alien rock star and
last ever for performance value I acted him out. I
performance left it at that, but other people re-read him
of ‘Ziggy…’ and contributed more information about
was released all the way back in 1979, Ziggy than I’d put into him.”
but incredibly it’s now fully 50 years
since the iconic gig it captures took ANY EXTRAS?
place at London’s Hammersmith Odeon Good news alert. This release finally
on 3 July 1973. A shiny new version of includes the medley of ‘The Jean Genie/
the movie has recently been shown Love Me Do’ and ‘Round And Round’
in over 1000 cinemas worldwide. The featuring guitarist Jeff Beck that was
film has been digitally restored by missing from the original release. As a
Pennebaker’s son, Frazer, and a new result it has an extended running time of
mix of the audio has been delivered by one hour and 42 minutes.
LIVIN’ ON A PRAYER: BIG SONGS BIG LIFE
Desmond Child with David Ritz (RADIUS BOOK GROUP)
WHAT’S THE Ricky Martin, Katy Perry, and Barbra
STORY? Streisand. It’s not all been plain sailing for
Desmond Desmond, though. He had a pretty tough
Child is upbringing, struggled for a long time with
one of the his sexuality, and for some years in the
world’s most ’80s was drawn into a cult. It’s all here and
successful more in this long-awaited autobiography.
songwriters.
The son of a WHAT DESMOND CHILD SAYS?
Cuban-born “My wish is to keep writing songs that
mother and touch hearts and change minds. I’ll never
a Hungarian stop wanting hits. Hits mean millions of
father, he people are loving something emanating
briefly flirted from my soul.”
with success as an artist in the late ’70s
with his own band Desmond Child And BEST BITS
Rouge before eventually finding fame This is an absorbing read, and although
and fortune writing with and for everyone there isn’t as much on Desmond Child
from Kiss, Bon Jovi, and Aerosmith to And Rouge as I was hoping for, the first
THE VERDICT
Sometimes you can barely tell the
difference between an old mix and a
new mix on such reboots. Here, though,
everything is crystal clear, revealing what
a great set of musicians The Spiders From
Mars – guitarist Mick Ronson, bassist
Trevor Bolder, and drummer Woody
Woodmansey – really were. Arriving off
the back of a 60-plus-date UK tour, the
group really is super tight. Ronson’s guitar
soars – his work on ‘Moonage Daydream’
is exceptional – and his performance
confirms that while Bowie’s vision and
songwriting was at the core of the Ziggy
experience, it was Ronno who delivered
the rock. This music is so sharp, raw, and
edgy that you can cut yourself on it.
John Nicholson
few chapters about Desmond’s mother,
family background, and his early years
growing up in Florida are very interesting.
DOES IT HIT THE SPOT?
Child is a fascinating character, a candid
individual with a multitude of anecdotes.
It feels like you’re right there in the room
with him as he tells his story. With the
assistance of ghost writer David Ritz,
Desmond tells a life story that’s seen
many highs and lows. It’s a real rags-to-
riches story in which Child comes across
as a good guy with plenty to say. The best
thing is that he also hints that there might
be another book to come. I’m looking
forward to it already.
Dave Reynolds
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CONEY HATCH ‘Postcard From Germany’

(CLEOPATRA RECORDS/EX1)
WHAT’S THE
STORY?
Having initially
split after
three early-
’80s studio
releases,
Canadian
melodic
rockers Coney
Hatch re-formed and released a fourth
album, ‘Four’, in 2013. Sporadic touring
eventually led the band to Ludwigsburg
in 2018 – with non-original member Sean
Kelly on lead guitar – where this show was
recorded. The band are trumpeting this
as their first live album, but Rock Candy
Mag remembers Coney Hatch issuing 300
copies of an official bootleg ‘Live At The
El Mocambo’ back in 2021, so there’s a bit
of artistic licence being used here.
WHAT DOES IT SOUND LIKE?
Initially, like a new album, because
‘Postcard From Germany’ opens with
two new studio recordings, ‘It’s About A
Girl’ and ‘Heaven’s On The Other Side’.
Both are strong and suggest that the
‘Four’ album was no flash in the pan.
Following those songs with a local MC’s
intro to the gig itself jars a little. But that
little anomaly is soon forgotten once the
60-minute, 15-song set gets underway.
BEST BITS?
Closing number ‘Monkey Bars’ – sung by
co-lead vocalist and bassist Curran – is
hard to top. Midway through the show
there’s the treat of a mini-set of five rarely
performed tunes from 1985’s third album
‘Friction’, specially rehearsed and aired
because the record sold well in Germany.
‘This Ain’t Love’ and ‘Girl From Last
Night’s Dream’ in particular prove that
Coney Hatch’s German fans have great
taste. Frontman and rhythm guitarist Carl
Dixon, who survived a serious car crash
in 2008, is on top form on the studio
cuts. At the German gig, however, Dixon
doesn’t always sound comfortable at the
top of his register. Despite this, when
‘Fallen Angel’ segues into the Golden
Earring classic ‘Radar Love’ (“So you can
hear where we got the groove from”)
the song underlines the brilliant bedrock
Coney Hatch rises from, namely the bass
and drums of Curran and Dave Ketchum.
THE VERDICT
Coney Hatch are still very much alive and
kicking and it’s good to have them still
making music.
Neil Jeffries

ALICE COOPER ‘Road’

(EARMUSIC )

WHAT’S THE Ezrin’s typical sheen. The main man’s
STORY? vocals are mixed right up front, and
At the ripe despite being encased in massive riffs
old age of and meaty solos, they’re clear and strong.
75, veteran While Cooper has never been the greatest
rocker Alice singer, his voice here sounds committed
Cooper shows and engaged on every song and happily
no signs undiminished by the passing of time.
of slowing
down on his BEST BITS
22nd solo album. This is Vincent Furnier’s ‘White Line Frankenstein’ is a driving
first new material since 2021’s critically song featuring a riff that gets the head
acclaimed ‘Detroit Stories’. ‘Road’ is nodding, a chantable chorus, and a
produced by long-time collaborator Bob blistering guitar break courtesy of co-
Ezrin, with whom Alice has been working writer Tom Morello from Rage Against the
successfully for over 50 years since they Machine. A tribute to roadies, ‘Road Rats
first got together on the ‘Love It To Death’ Forever’, is a massively beefed-up version
album way back in 1971. of ‘Road Rats’ from Alice’s 1977 album
‘Lace And Whiskey’ and benefits from
WHAT DOES IT SOUND LIKE? improved production and arrangement.
Like old-school Alice with an overlay of Elsewhere, former band member
Kane Roberts guests on the raucous
‘Dead Don’t Dance’ and provides some
impassioned soloing. A fourth highlight,
meanwhile, is one of Alice’s most tuneful
rockers ‘The Big Goodbye’ that fair zips
along without pausing for breath.
THE VERDICT
Backed by a watertight ensemble – Alice’s
touring band – this is a fine album with
great rocking tunes, interesting guest
appearances, and Alice’s trademark
phrasing and humour. It improves with
repeated listening – a frankly unnecessary
and poor cover of The Who’s ‘Magic Bus’
aside – and is a worthy addition to Alice’s
canon, especially if you pick up the bonus
DVD/Blu-ray that features Alice’s full set
from 2022’s Hellfest show.
Ross Sampson

92
THE DIRTY STRANGERS ‘Hunter’s Moon’
(DS RECORDS)
WHAT’S THE
STORY?
London’s
finest
yet sadly
somewhat
unheralded
rock’n’roll
band returns
with a sixth
studio album, the group’s first since
2015’s ‘Crime And A Woman’. How time
flies! It seems like only yesterday when I
was reviewing The Dirty Strangers’ 1987
eponymous debut for Kerrang! magazine.
Chief songwriter and band leader Alan
Clayton wrote the bulk of these new
songs during lockdown on his beloved
1964 Gibson Hummingbird acoustic guitar
that was gifted to him by his Rolling
Stone friend Keith Richards. The album
was recorded at Alan’s own West One
Two Studio in Sussex.
WHAT DOES IT SOUND LIKE?
A heady mixture of kick-a*s rock’n’roll!
‘Hunter’s Moon’ takes the best of the
Rolling Stones, crosses it with the
Ramones, and then adds a splash of The
Quireboys. It’s no surprise that Quireboys
guitarist Guy Griffin and drummer Pip
Mailing play on four songs. The dirty
guitars get cranked up in the mix of
the album, and the general groove on
‘Hunter’s Moon’ makes you want to crack
open a bottle of Jack Daniels and turn up
the speakers to maximum volume.
BEST BITS
There are a number of standout cuts. The
title track rocks like a freight train going
full pelt, the Stonesy ‘La La La I Couldn’t
Care Less’ is driven along admirably by
Clayton’s 13-year-old niece Holly Clayton
on drums, and Guy Griffin shines with
some tasteful fret work on ‘Cell Block
No. 5’ and the wittily titled ‘Pirates Don’t
Get Pensions’. The Ramones feel comes
to the fore on the wickedly fast ‘My Girl’s
A Getaway Driver’, which clocks in at a
short, sharp one minute and 40 seconds.
THE VERDICT
This is a great album and it’s really
refreshing that bands like The Dirty
Strangers can still write cracking
rock’n’roll songs in an age where there’s
so much manufactured dross about. Alan
Clayton and his merry crew obviously had
a blast recording this album. Go and see
them live if you can.
Xavier Russell

ECLIPSE ‘Megalomanium’
(FRONTIERS)

WHAT’S THE song on ‘Megalomanium’ explodes out
STORY? of the speakers like 4 July celebrations
This is the gone wild. Unashamedly hook-laden
tenth studio and unashamedly reminiscent of classic
album from ’80s arena rock, 10 of the 11 songs hover
the Swedish around the three-minute 30 mark,
foursome – meaning that ‘Megalomanium’ positively
vocalist Erik whizzes by in a melodic rock frenzy.
Mårtensson, What’s really positive is the fact that
guitarist every song passes the catchiness test.
Magnus Henriksson, drummer Philip You can sing each and every one of them
Crusner, and his older bassist brother after just one listen.
Victor – and follows 2021’s well-received
‘Wired’. Mårtensson formed Eclipse in BEST BITS
Stockholm back in 1999 and handles The appropriately named ‘Anthem’ is a
production duties here. fist-in-the-air slab of rock with a blistering
solo, while the pleasingly positive ‘One
WHAT DOES IT SOUND LIKE? Step Closer To You’ slows things down
As AOR should – polished, clear, and a little and features a fabulous country-
big, big, big. Mårtensson has managed tinged guitar section. While the majority
to put the bomb in ‘bombastic’ as every of the songs tread a well-worn yet
welcome path, a special mention goes to
‘High Road’, which manages to plough a
different musical furrow as Victor Crusner
takes the lead vocal. The standout classic
here, however, is ‘Children Of The Night’,
one of the hardest rocking songs on the
album that recalls the sound of Dio at
their peak.
THE VERDICT
If you like this style of music, I
guarantee you won’t be disappointed
by ‘Megalomanium’. It’s true that no
envelopes are pushed, but what you
get is 11 songs of the highest standard
– and there’s nothing wrong with that.
Quality is quality, and while listening
to ‘Megalomanium’ has been my first
exposure to Eclipse, it won’t be my last.
Ross Sampson

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THE STUFF THAT’S GRABBED OUR ATTENTION

GIRLSCHOOL ‘WTFortyfive?’
(SILVER LINING MUSIC)
WHAT’S THE swinging, and it sounds like 1980 all over
STORY? again. Opening track ‘It Is What It Is’
Girlschool’s lays out the band’s heavy, scuzzy, and
14th studio anthemic hard rock stall perfectly, but
album comes every song has the vibe of a raucous, fun
45 years after party that we all happen to be invited to.
the band first The production sounds modern and retro
began life back at the same time, which is no easy feat!
in 1978. This is
the English all- BEST BITS
girl group’s first album since 2015’s ‘Guilty All of the album’s 12 songs hit the spot
As Sin’ and features founder members with strong melodies, crunching riffs,
Kim McAuliffe (guitar/vocals) and Denise fluid solos, and Girlschool-patented
Dufort (drums), with Jackie Chambers shout-along backing vocals all present
(guitar/backing vocals) and Tracey Lamb and correct. Proudly ballad-free,
(bass) completing the quartet. There are ‘WTFortyfive?’ deliberately showcases
also guest spots from Biff Byford, Phil every member of the band and Kim’s
Campbell, Duff McKagan, and Joe Stump. vocals sound sharp throughout. ‘Are You
Ready?’, co-written by and featuring
WHAT DOES IT SOUND LIKE? Alcatrazz guitarist Joe Stump, is just
Right from the off the girls come out under three and a half minutes of
perfectly formed rock. ‘Believing In You’,
meanwhile, features a chunky stop-start
riff that’s reminiscent of AC/DC and is
another belter with a memorable chorus.
A stonking cover of Motörhead’s ‘Born To
Raise Hell’ brings the album to a satisfying
close with some welcome help from
Byford, Campbell, and McKagan.
THE VERDICT
The best thing from Girlschool in years,
‘WTFortyfive?’ shows that age really is just
a number, and that talent always shines
through. Every song is cogent, powerful,
and fun! The cover depicts a well-worn
leather jacket and though the band
members may well have some mileage
on the rock’n’roll clock, this is as fresh an
album as I’ve heard in a long, long time.
Ross Sampson

JELUSICK ‘Follow The Blind Man’

(ESCAPE MUSIC)
WHAT’S THE
STORY?
‘Follow The
Blind Man’
is the debut
release from
a Croatian
band named
after powerful
vocalist
Dino Jelusić. Backing Dino – who also
plays keyboards and keytar – are fellow
Croatians Ivan Keller (guitar), Luka
Broderick (bass), and Mario Lepoglavec
(drums). Dino formed Jelusick after
disbanding Animal Drive, a group that
released one album in 2018 and an EP in
2019. Having sung with the Trans-Siberian
Orchestra since 2016 and Whitesnake
since 2021, Jelusić’s considerable
experience is reflected in this album.
WHAT DOES IT SOUND LIKE?
Jelusick call themselves hard rock/prog
metal, which is a pretty broad definition.
But if you’re looking for comparisons,
think Iron Maiden meets Whitesnake with
elements of Queensrÿche, all updated by
crunching guitars reminiscent of Alter
Bridge and Dream Theater. Dino’s voice
is key. At times it echoes David Coverdale
circa Whitesnake’s ‘1987’ album, which
makes it easy to understand why he was
invited to contribute to that band. In fact,
Cov could easily have pulled up a chair
and simply let Dino do the job.
BEST BITS?
Opener ‘Reign Of Vultures’ is an epic
you’ll want to hear again and again.
Clocking in at six-and-a-half minutes,
it begins with a guitar solo that gives
way to a spiky riff designed to build
tension before the first vocal line. And
there’s even room for an organ solo! For
contrast, check out the slower title track
that sounds like a Whitesnake outtake,
or the power ballad ‘The Great Divide’.
Album closer ‘The Bitter End’ is a classy
piano ballad where Dino sings prog-tastic
lyrics about “where the sky becomes the
sea” with him being “the chaos master”.
Mainly, though, this album simply rocks
hard, with other standouts including
‘Died’, ‘Healer’, and ‘Fly High Again’.
THE VERDICT
The music and lyrics on ‘Follow The
Blind Man’ are perfectly fine, but at the
end of the day this album is really all
about the singing, which I have to say is
very special indeed.
Neil Jeffries

94
 SASS JORDAN ‘Live New York Ninety-Four’
(DEKO ENTERTAINMENT)
WHAT’S THE
STORY?
Sass Jordan
arrived on
my radar via
the TV in a
Hamilton,
Ontario hotel
room in 1989.
The video for
the title track from the Canadian singer’s
debut album, ‘Tell Somebody’, had me
racing to the record store across the
street to pick up a copy of that pop rock
gem. Five years later, in 1994, Sass and
guitarist Stevie Salas sat with me, pre-
show, in another hotel room, this time in
Wilmington, North Carolina, to discuss
her third album ‘Rats’. Sass had long left
the glossy sheen of that debut album
behind in favour of the funked up-blues of
BRIAN MAY + FRIENDS
(EMI)
WHAT’S THE
STORY?
On 21 and 22
April 1983,
35-year-old
Brian May
got together
with buddies
Edward Van
Halen (guitar),
Alan Gratzer (drums), Phil Chen (bass),
Photos: Adam Kennedy; Mariah Noelle
and Fred Mandel (keyboards) to record
three songs: ‘Star Fleet’ (a Japanese sci-fi
TV series theme tune), ‘Let Me Out’, and
‘Blues Breaker’. The tunes were released
under the banner of Brian May + Friends
‘Star Fleet Project’ on 31 October 1983.
Now we get to hear everything that
was recorded over the course of those
two days, including various takes of the
songs, jams, live versions of ‘Let Me Out’
1992’s ‘Racine’ and ‘Rats’. ‘Live New York
Ninety-Four’, captured at South Street
Seaport in NYC, finally allows the whole
world to hear this amazing artist and her
then band in their natural environment,
in the same way I was fortunate to do in
North Carolina.
WHAT DOES IT SOUND LIKE?
Sass and band (interestingly introduced
here as Colorcode, the name of Salas’s
funk rock trio) have the New York
crowd eating out of their hands. Sass
selected her musicians well. Alongside
Salas came fellow guitarist Nick Lashley
(formerly with NWOBHM outfit
Soldier!), bassist Tony Reyes, and a
then-unknown drummer by the name of
Taylor Hawkins. The result was first-rate
blues rock led by an amazing, hugely
underrated frontwoman.
‘Star Fleet Sessions’
and Queen’s ‘We Will Rock You’, not to
mention interviews done at the time. All
in all there are 32 pieces included on this
exhaustive deluxe box set.
WHAT DOES IT SOUND LIKE?
Like a bunch of talented players enjoying
themselves and not worrying about
whether any of this stuff is ever going to
be released. As you might imagine, there
wasn’t a whole lot of time to work outside
of the three songs, so there are many,
many versions of ‘Star Fleet’ and ‘Let Me
Out’ and perhaps surprisingly just the one
new mix of ‘Blues Breaker’. There are also
things like ‘Funky Jam’, ‘Boogie Woogie
Jam’, and ‘Jazz Police’ that are simply
musos goofing off.
BEST BITS
If you’re a fan of guitar heroes, you’re
BEST BITS
It’s a close-run thing between the cover
of Bowie’s ‘Moonage Daydream’, the six-
minute epic ‘P*ssin’ Down’, and the bluesy
funk of ‘High Road Easy’ and ‘Ugly’.
THE VERDICT
Sass has always delivered live, but
this recording is more poignant
because of the late Taylor Hawkins’
involvement. Together with Lashley,
the drummer would jump ship to join
Alanis Morissette’s touring band as her
1995 album ‘Jagged Little Pill’ exploded,
before becoming a star in his own right
after joining Dave Grohl in Foo Fighters.
‘Live New York Ninety-Four’ is as much a
tribute to Hawkins’s ability as a drummer
as Sass’s prowess as an artist.
Dave Reynolds
going to love the fact that you’ve got
two of rock’s greatest players going at
it together. But it’s hard not to feel that
you’re aurally intruding on something that
was supposed to be happening for the
benefit of the players rather than listening
public. I’m sure all these guys were having
a blast working outside of their respective
bands. But as far as truly great music
goes pickings are a little slim here.
THE VERDICT
This release is a curio for Brian May nerds
and Queen/Van Halen completists. The
playing is obviously first rate, and the
enjoyment the players are getting out
of the exercise is clear. But this isn’t a
collection that anyone else needs to hear
more than once.
Howard Johnson
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THE STUFF THAT’S GRABBED OUR ATTENTION
MR BIG ‘The Albums – 1976-1978’
(7T’S RECORDS)
WHAT’S THE
STORY?
Not to be
confused with
Eric Martin’s
US supergroup
formed in the
late 1980s,
this is a British
band from the
1970s – and they were a very different
beast, combining prog tendencies
with Queen-like pomp rock. The group
originally formed in the late ’60s under
the handle of Burnt Oak, and became
Mr Big by accident in 1972 when they
played the famous Marquee Club in
London. The manager of the club had
mistakenly advertised them as Mr Big
and refused to change the billing, and
the Mr Big moniker stuck. They recorded
STATUS QUO ‘Official Archive Series Vol 1
– Live In Amsterdam’ (EARMUSIC)
WHAT’S THE
STORY?
Following in
the footsteps
of Kiss, Deep
Purple, and
others, Status
Quo are the
latest heritage
act to boost
their retirement fund with a series of
archival official live recordings. Minimal
effort for guaranteed returns equals
money for old rope, right? Given band
leader and last original member Francis
Rossi’s self-confessed obsession with
money, the only thing unexpected about
this release is that it took this long. To be
fair, the band promise a “carefully curated
selection of iconic performances,” so let’s
wait and see how such excavations affect
96
three albums – ‘Sweet Silence’, ‘Mr Big’,
and ‘Seppuku’ – all of which are included
in this box set. 1978’s ‘Seppuku’ was
produced by Ian Hunter, though the
album was shelved at the time and only
surfaced in 2001. The band are best
known for their 1977 UK hit ‘Romeo’, a
wimphem Styx-like classic that reached
number four on the singles charts.
WHAT VOCALIST AND GUITARIST
DICKEN SAYS
“Our song ‘Romeo’ is what we’re
about. It’s strange the number of fellow
musicians who’ve told me how much
they like the song, and one surprise was
Steve Jones of the Sex Pistols! When
we supported Queen on their ‘Night
At The Opera’ tour, Freddie Mercury
complimented us on the song, so to this
day it remains our calling card.”
Quo’s legacy. Volume One revisits Quo
in 2010, during the final stages of their
‘Pictures Exposed World Tour’.
WHAT DOES IT SOUND LIKE?
The keys of Andrew Bown are a little too
loud in the mix, but the remastered and
remixed audio is exceptional overall: crisp
and bright, with a fulsome bottom end.
We can hear all of Rossi’s little in-jokes,
and with lead vocals dropping in and
out as Francis and rhythm guitarist Rick
Parfitt clown around with a noisy crowd
at Amsterdam’s Heineken Hall, it certainly
sounds as though the band is having a bit
of party onstage.
BEST BITS?
This 95-minute performance offers a high
proportion of golden oldies, including
the God-like ‘Mean Girl’ (slightly sloppily
ANY EXTRAS?
There are a total of 10 non-album tracks,
including unreleased songs, US remixes,
and a real treat, ‘Christmas with Dicken’,
a proper knees-up that should have been
a hit when it was originally released as
a single in 1974. There’s also a booklet
with rare photos and liner notes by Phil
Hendriks in conversation with songwriter/
vocalist Dicken and drummer John Burnip.
DOES IT HIT THE SPOT?
It most certainly does. Mr Big never
eclipsed the success of ‘Romeo’, but
their songs are generally intricate and
beautifully crafted pieces of work, with
nods to the likes of Supertramp, Queen,
ELO, and Styx for sure, yet interesting and
original at the same time.
Xavier Russell
delivered on this occasion), plus ‘Caroline’,
‘Softer Ride’, ‘Rain’, ‘Down Down’, ‘Roll
Over Lay Down’, and ‘Junior’s Wailing’.
Of the newer material, ‘Creepin’ Up On
You’ stands its ground in such hallowed
company. The continued inclusion of ‘The
Oriental’, a quirky, clever-clever ditty from
‘Heavy Traffic’ loved by Rossi though
frowned upon by disciples of classic-era
Quo, will surely raise a few eyebrows.
THE VERDICT
With a second, unspecified release
due in November, ‘Live In Amsterdam’
represents a very respectable introduction
to this series. It’s easy to knock Quo, but
only a fool would dare to question their
credentials as entertainers. Something
rare from the 1970s soon, please, guys?
Dave Ling
 U.D.O. ‘Touchdown’
(ATOMIC FIRE)

WHAT’S THE Accept records such as ‘Restless And
STORY? Wild’ or ‘Breaker’, but they’re solid slabs
Soon after of metal, and Dirkschneider’s raspy
leaving bellow is always a pleasure to behold.
legendary ‘Touchdown’ delivers that familiar blend
German of songs that tend to either be straight-
metallers down-the-line metal or AC/DC-esque
Accept in 1987, rock. This time, the band’s anthemic
singer Udo chorus game feels particularly strong, and
Dirkschneider the 13-track album is seriously consistent.
formed his own band, U.D.O. Despite
the frontman’s occasional reunions with BEST BITS
Accept over the years (including a run of Pandemic-inspired opener ‘Isolation Man’
three studio albums in the mid-1990s), pounds in a similarly heavy and melodic
U.D.O. have released new albums on a style to Judas Priest’s ‘Firepower’.
consistent basis. Now here’s the band’s Right after that comes ‘The Flood’, an
20th studio record. awesome song that packs the album’s
most epic chorus. ‘Fight For The Right’
WHAT DOES IT SOUND LIKE? is textbook air-punching Accept/U.D.O.,
U.D.O. records don’t always showcase the with an injection of classical melody, while
madly inventive flair that characterised ‘Forever Free’ was chosen as the album’s
lead track for a reason. It’s a catchy and
uplifting banger that recalls Helloween.
The scathing ‘Punchline’ is a superior slice
of sleazy groove, while ‘The Betrayer’
scores major ‘heavy’ points and ‘The
Battle Understood’ marries tremendous
mid-paced rifferama with yet another fine
chorus. Refreshingly, the album ends with
the title track, which is the fastest song on
the record and a doozy to boot.
THE VERDICT
It’s great to hear a legend like
Dirkschneider not only sounding
entirely credible at 71, but also capable
of producing quality molten metal.
‘Touchdown’ may not reinvent the wheel,
but it’s certainly able to bash your skull
and leave you burbling its melodies.
Jason Arnopp

VANDENBERG ‘Sin’
(MASCOT)
WHAT’S THE WHAT DOES IT SOUND LIKE?
STORY? There’s an ’80s rock vibe to the album,
Vandenberg and that’s a very good thing indeed
was formed as it lands somewhere between Dio’s
in Amsterdam ‘Holy Diver’ and Whitesnake’s ‘1987’.
in 1981 by the Vandenberg’s guitar is the star, and the
then 27-year- album features plenty of dramatic elastic
old guitar riffs and nimble soloing. Levén’s vocals
whizz Adrian have a Ronnie James Dio-ish gravel and a
Vandenberg. Lord Coverdale-ish blues power.
They made three excellent melodic hard
rock albums, two of which charted in BEST BITS
the United States. The band sadly broke The title track, coming in at just under
up when Adrian was recruited to join seven minutes long, is easily the best thing
Whitesnake back in 1986, but they came on the record, wrapping itself around a
Photo: Martin Hausler
though. He tends to get in, deliver the
goods, and get out before he overstays
his welcome. The shred fan will probably
want to hear him stretch out more, but
that’s not his gig here. ‘Walking On Water’
is a slower number that features some
tasty guitar work with pinch harmonics
that echo some of Viv Campbell’s best
work. Occasionally, the riffs are a bit
predictable, but Adrian always throws in
some interesting guitar details.
THE VERDICT
At its best this album revisits the snowy
peaks of ’80s rock and metal in a very

back with their first studio album in 35
years, ‘2020’. ‘Sin’ is their latest offering.
Besides Vandenberg, the band also
includes Swedish vocalist Mats Levén,
drummer Koen Herfst, and bassist Randy
van der Elsen.
dense, meaty, and vaguely ‘Kashmir’-style
riff. The solo, when it arrives, is a proper
set-yer-hair-alight barn burner, and really
shows that the guitarist has still got more
weapons in his armoury than most. Adrian
doesn’t indulge in prolonged shredding,
satisfying way. It doesn’t sound like a
modern rock record, which is a relief. At
times it’s a little hard-rock-by-numbers,
but don’t let that put you off.
John Nicholson

97
 ENDGAME CROSSWORD
Eyes down!
ACROSS
1 Dio spent ‘--- ----- In The City’ on 1984’s ‘The Last In
Line’ album. (3,5)
4 American rockers in a state who reached the ‘Point
Of Know Return’ in 1977. (6)
7 Nazareth’s naughty, naughty 1973 single. (3,3,3)
8 Japanese band whose eponymous 1987 debut album
was co-produced by Gene Simmons. (3)
9 Elliott -------, session guitarist for the likes of Asia,
Peter Criss, and Steely Dan. (7)
11 Boozers The Quireboys declared themselves ‘Well
-----’ back in 2004. (5)
13 See 5 Down.
14 Surname of once Afro-haired Journey guitarist and
founder. (5)
17 Lyric from Megadeth’s spelling obsessed 1988
track ‘Hook In Mouth’: “E, we elect them, E, we -----
them.” (5)
19 ----- Wine, Canadian group founded by Myles
Goodwyn in 1969. (5)
22 Vampiric Lita Ford was ‘Out For -----’ in 1983. (5)
24 Surname of Brooklyn-born Poison guitarist. (7)
26 “--- U Deliver” queried Armored Saint on 1984’s
‘March Of The Saint’ album, thereby inventing txt
speak. (3)
27 Magnum’s long-serving vocalist. (3,6)
28 “Am I Going ------”, wondered Black Sabbath
vocalist Ozzy Osbourne on 1975’s ‘Sabotage’
album. (6)
29 Small Faces and ELO manager known for his
questionable methods. (3,5)
The Rock Candy Mag crossword is compiled by former Kerrang! writer Jason Arnopp, who has launched Possessed By Metal, a
YouTube channel dedicated to the loud stuff, with a strong 1980s skew. Set to feature interviews, rankings, reviews, and lots of vinyl,
the channel recently presented a Top 20 list of The Best Dio Songs Ever. Check it out here: bit.ly/arnopptube
98
23 DOWN: MOTÖRHEAD
For answers go to our website
www.rockcandymag.com
DOWN
1 Yngwie Malmsteen set the ‘World -- ----’ in 2016. (2,4)
2 Native American single from Anthrax’s 1987 ‘Among
The Living’ album. (7)
3 Phil Campbell’s son who plays lead guitar in Phil
Campbell And The Bastard Sons. (4)
4 Bow Wow/Vow Wow guitarist ----- Yamamoto. (5)
5 & 13 Across Ronnie Montrose went as fast as ‘The ---
-- Of -----’ in 1988. (5,5)
6 It was ‘All Over Bar The --------’, reckoned Fast Eddie
Clarke on 1994’s ‘It Ain’t Over Till It’s Over’. (8)
7 Hot German rock band founded by guitarist Hans
Ziller that was once called Cacumen. (7)
10 Autograph came across ‘---- --- Clear’ on their third
album from 1987. (4,3)
11 Conflict-obsessed thrash trio At War’s 1986 debut
album ‘------- To Kill’. (7)
12 & 22 Down One-time Judas Priest drummer
nicknamed ‘Feathertouch’ (3,5)
15 Musician, producer, and songwriter Ken -------, best
known for his work with Uriah Heep and Blackfoot. (7)
16 Vixen drummer Roxy --------. (8)
18 Little Angels considered themselves ‘--- Posh To
Mosh’ on their 1987 mini-album. (3)
20 Rush set up home in Italy at ‘-- ----- Strangiato’. (2,5)
21 FM looked up and found themselves ‘Closer To ------’
on the 1992 album ‘Aphrodisiac’. (6)
22 See 12 Down.
23 1993 Motörhead song, ‘Lost In The -----’. (5)
25 1983 B-side of a Venom single that might have
appealed to Tina Turner, ‘---- Queen’. (4)
Photo: Lionel Flusin
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