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By: Michael D. Vogel  

© October 10, 1997. Michael D. Vogel.  All Rights Reserved. 

Published in:  

Totally Adult magazine – November 7, 1997 

FreeGotham – November 10, 2010

Inspiration is a funny thing.

Some guitarists, like Jimi Hendrix, claim their music comes to them in waves, as if you’re being struck by a lightning bolt right out of thin air. Others, like Buddy Guy, Carlos Santana and Robben Ford, play from the heart and not the head. It’s instinctual and not something that’s tangible or can be reasoned out. A true musician really has no method for what he plays, just a passion to share and an ability to communicate clearly through music.

Not since the late Stevie Ray Vaughan has anyone burned up the blues like Kenny Wayne Shepherd. The “Tornado” from Shreveport, LA, who has, with his long blonde hair and Stratocaster in tow, rekindled blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Kenny Wayne simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high-octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans.

Ken Shepherd Sr.—a former radio programmer, DJ and concert promoter, and now his son’s manager—exposed his only boy to this business we call radio at a very young age. By proxy, the young Shepherd was steeped in his father’s fine personal music taste, which leaned towards R&B and the blues. At the age of seven, Shepherd, Jr., was struck by one of the masters when Vaughan (who was performing at the Louisville Music Festival, a show his father was promoting) plunked the child upon an amp near the stage and let him absorb his show up close and personal. That night was an epiphany for the tow-headed youth, and he’s never looked back. Putting serious pressure on his parents, Kenny Wayne got his first real guitar, a cure-rate Yamaha, that Christmas.

Underneath the hype and the high profile press, an elite group of musicians who have been watching and whispering about Kenny Wayne have granted him the secret knock to gain access into their private clubhouse. At 20, he’s been invited to play with an exclusive collection of talent, including Buddy Guy, Eric Clapton and Bob Dylan. And while on tour with B.B. King, the elder statesman invited Shepherd to trade riffs onstage with him every night and shared secrets with him by day. “B.B. told me, ‘You could possibly be bigger than all of us,” Kenny Wayne told columnist Jaan Uhelszki in the San Francisco Examiner & Chronicle last month. “And coming from him, that meant everything to me.”

The media attention and the blinding spotlights haven’t seemed to shake Kenny Wayne’s confidence yet—he fearlessly and with much aplomb covers Jimi Hendrix’s “I Don’t Live Today” and Bob Dylan’s “Everything Is Broken” on Trouble Is…–and he levelheadedly continues to use his fortunate position to soak up as much knowledge as he can about his about his chosen profession and its history. Still, it’s a lot to ask from a manchild still not old enough to order up a legal drink. He’s spent most of the last few years on the road with King, Dylan, Clapton and Lynyrd Skynyrd, and was asked to be the third trine in the pyrotechnic-laden “G3” tour with Steve Vai and Joe Satriani. “Nobody forced me to do anything I didn’t want to,” Shepherd’s on record as saying. “And it wasn’t as if I didn’t have a childhood—I skateboarded and spent time hanging around malls like other kids. I’ve given up some things, but what I’ve gotten in return is definitely worth it.”

Recently, during a stopover in Arizona on his way to Southern California, Kenny Wayne called to talk about the evolution of the music, his sixth sense, the stresses of success and his band’s new lead singer—as well as the prospect of singing and his stepping up to the mike himself one day.

How early did you come to know and understand your sixth sense regarding music? 

Kenny Wayne Shepherd: “From as early back as I can remember, I was always fascinated by musicians. The emotional responses that were evoked by their soulful music really had a profound effect on me. As a result, from a very early age, I knew that writing music and playing the guitar would be my calling. There are pictures dating back to when I was four or five years old, holding a plastic toy guitar. It was solid plastic with nylon strings and had a picture of the Village People on it.

“The music itself, though, seems to play out differently for me than it does for others. I can remember jumping up and down on my grandfather’s bed listening to ZZ Top’s Fandango album. Even at such an early age, I was able to memorize the guitar parts and then tried to emulate them on my own guitar. But it wasn’t until I got my first real guitar, at seven years of age, that I was really able to play what I was hearing. The rest, as they say, is history.”

Why do you suppose blues-based guitar rock is having a return to prominence?

KWS: “One of the main things I can think of, when I think about the wider acceptance to this music is that it is a return to real music. What I mean by that is there are real people playing real instruments. Alternative music had the benefit of coming out of the 80s when music predominantly featured drum machines and big keyboards. Personally, that is one of the most appealing aspects of alternative music: it is the antithesis of the music that preceded it.

“As with the cyclical nature of music, people’s tastes returned to real instruments instead of sound bites and [computer] loops. As a result there was a huge explosion on the country music scene. The rise in popularity of country music was amazing. Fortunately not all music has the benefit of a second time around. Take disco for example, there might be some initial interest in some places but for the most part, it tried to make a comeback and failed. The ‘big-hair’ thing of the mid/late 80s is also trying to make a comeback. The difference is that they aren’t doing the same type of music they were making back then–they’ve changed it up. The blues have also gone through many cycles of being on top and at the bottom of the music scene as well. It is just the natural evolution of the various types of music created.

“There is always a lot of musicianship involved, but there are also more ways of getting your point across without using loud distorted guitars. The music is supposed to be intense and filled with emotions that people can relate to, but not necessarily to the point of screaming in your face. At its most basic definition, isn’t that what the core of the blues is all about? A serious groove with some musicianship behind it. The blues, similar to other kinds of music, tells of real people’s problems and emotions. At the same time, though, it’s music that makes you feel good. But, with the way everything is defined and labeled, the reality is that everything seems to fall into some sort of category. I wouldn’t necessarily say that Trouble Is…, is a straight ‘classic’ sounding blues record, because it definitely is not! The evolution of the music can best be described as a modern mixture of the blues with hard driving rock & roll. Combined together, this album really rips!”

Is there a lot of pressure on you, already considered part of blues/rock’s guitar elite–beginning as such a soulful teenager–simply based on the strength of the Ledbetter Heights album? 

“Sometimes things manifest themselves because they are talked about so much. I am always asked whether I feel the pressure of recording a second album and if it is going to live up to the expectations and surpass the previous album. Due to my own naiveté, at first, I didn’t know what they were talking about. But because this question is constantly asked, you ultimately tend to find yourself stressing out. [Build it and they will come/say it and it will happen.]

“As far as pressure goes, I really try not to get to caught up in all that. When I was a kid I dreamed about being on the cover of Guitar Player magazine or having my name mentioned with the likes of Buddy Guy, John Lee Hooker and B.B. King. I’m just a guy from Shreveport doing what I love–playing guitar. Because I have been on both sides of the fence now, I really feel very appreciative for what has happened to my music and me. Every player knows something different, which is what makes each player so unique. I truly appreciate the position I’m in, playing guitar and making music, so I don’t really put those kinds of pressures on myself. I am confident in my abilities as a player, because I have been onstage with some of these all-time greats. I’m just going to keep playing the best way I know how.”

What helps you deal with the stress of constant touring and recording deadlines? What helps you to stay centered and focused on the music? 

“It may sound corny or a bit cliché, but it’s the music itself that keeps me on the right track. Of course, there is also some sort of ‘outside’ force, like a divine inspiration, that really helped me along. But the focus itself has always revolved around a passion to write and record music. I play the guitar and people seem to appreciate it. That’s what I always asked for and that’s exactly what I got.

“Compared to the first album, the recording of Trouble Is… was a little more hectic. We spent three months recording Ledbetter Heights, whereas less than two months was spent recording this one. We tend to split the recording time up, so that our time in the studio can be as productive as possible. For the first album, we recorded 13 tracks and then took a few weeks off. It was in that time that we wrote ‘Deja Voodoo,’ “Born With A Broken Heart” and “(Let Me Up) I’ve Had Enough”–the three most successful songs on the album. For the new album, we took a month off to tour with G3 as well as some shows with Lynyrd Skynyrd and Paul Rodgers. During that period, we wrote “Slow Ride” and “Long Gone,” which features the extraordinary playing of James Cotton.”

With your new singer, the vocal and guitar arrangements are more reminiscent of a hybrid of Bad Company and Humble Pie. Was this change made to better accentuate the blues-driven style of your music? 

“The change in the vocals adds a lot more authenticity to the sound of the music. For the Ledbetter Heights album, my first singer Corey [Sterling] came from a totally non-blues background, whereas Noah [Hunt], who handled the vocals for Trouble Is…, has a firm knowledge of roots-rock and the blues. Unfortunately, you couldn’t pin Corey down to sing any blues standards simply because he doesn’t know any. But, on the other hand, Noah seems to be able to pull them out anytime due to his exceptional understanding of the music. The best part is that even the way he sings and pronounces things sounds more Southern. Together, they add up to the perfect mixture of guitars and vocals.”

Do you ever see yourself stepping up to the microphone and taking a more active role on vocals, or are you simply content to stay behind the six-string? 

“It will happen sooner or later. I don’t think I’m to the point where I would be comfortable handling all the vocal duties for a full record. It comes down to a growing process, where maybe on the next album I may sing lead on a few songs, but definitely not the entire record. To me, singing is an important aspect of creating music because it would help bring more to my total performance, but at this moment it is only something that I am going to pursue in small steps. Unfortunately, singing doesn’t come as naturally as playing a guitar. This is somewhat surprising considering the only musical talent on my father’s side of the family was singing.

“Overall though, I’m in good company and therefore not really worried about it. For example, look back at the careers of Jimi Hendrix, Stevie Ray, or Eric Clapton. All three of these guys played guitar for many years before they got behind the microphone and started singing.” ^m^

Photograph credit: Mark Seliger

Origin:                                                                                     Website: 

Shreveport, LA                                                                      www.kennywayneshepherd.net 

Line-Up:                                                                                     

Kenny Wayne Shepherd – Guitars & Vocals             Jimmy Wallace – Keys               

Noah Hunt – Vocals                                                             Robert Emerson – Bass 

Joe Nadeau – Guitar                                                            Sam Bryant – Drums 

Guest Musicians: 

Chris Layton – Drums                                                          Reese Wynans – keys 

Tommy Shannon – Bass                                                      James Cotton – Harmonica 

About This CD: 

This is Kenny Wayne’s sophomore CD, following up on the heels of Ledbetter Heights which sold in excess of 500,000 copies and spent an amazing five months atop the national blues chart.   

Discography:  

Trouble Is… (Revolution, 1997)                                       

Ledbetter Heights (Revolution, 1995)                       

Produced By: 

Jerry Harrison 

Label: 

Revolution 

© October 10, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it. 

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Interview By: Robert “Chucklehead” England

Written & Edited By: Michael D. Vogel

© March 15, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

Chucklehead Strikes Back – April 1, 1997

– a special supplement of The Album Network magazine

The 60s revolution was a failure. If it had succeeded, we’d be buying pre-rolled packs of “smokes” at the corner liquor store and consenting adults would give “free love” a whole new meaning. Spectacular failures, however, tend to have interesting and lasting implications. As a result, the 60s gave birth to civil rights, moral irresponsibility and Lenny Bruce.

With the new millennium just on the horizon, the 90s have seen a resurgence of provocative influences. Madonna’s Erotica album and Sex book made sadomasochism vogue, while RuPaul and The Crying Game helped propel cross-dressing into a worldwide rage. But influence is measurable only by a person’s subjective perceptions.

Robert Schimmel possesses the irreverent and uncensored style of his predecessor, the often outspoken and highly controversial Lenny Bruce. With a style that wraps the plain truth into a punch line, Schimmel helps push the envelope of socially acceptable humor as it relates to modern sexual attitudes.

People want to spice up their lives or feel as if they’re at least part of some progressive cultural movement. Is there a chance that America will buck this trend and return to a period of old-fashioned, traditional values? Will bedroom activities be confined to “behind closed doors” policies? Will normal bodily functions remain only a source of embarrassment? Not if Robert Schimmel has any say about it!

Robert “Chucklehead” England recently chatted with Schimmel by telephone.

How did you get your start as a comedian?

Robert Schimmel: “I have always enjoyed making people laugh. When I was younger, I would spend hours watching the comedians on television. But as a profession, comedy was never something I saw as a viable option. Then, several years back, I came out to visit my sister in Los Angeles. She suggested we go to a local comedy club that was having amateur night. Without warning, the emcee called out my name to come up onstage a give a two-minute improvisational comedy bit. After much prodding from my sister I took the stage. That’s all it took, I was bitten by the comedy bug from that point on. 

“Shortly thereafter, my wife and I packed up and moved from Scottsdale to Los Angeles. The first place I took her was to the club that gave me the two-minute set, but unfortunately, it had burned down the night before. Since I was in a new city, and no immediate source of income, I had to find a job. So, I started selling stereo equipment in Beverly Hills. Isn’t there a joke about comedians who start out as stereo salesmen? So, my beginning, by all accounts, was quite auspicious at best.”

What was your childhood like?

RS: “I was definitely a problem for my teachers and ultimately spent a great deal of time in detention while I was growing up. To me, it all came down to being able to make people laugh, even at my own expense.”

How did you get involved with radio?

“Shortly after my CD was released, sales started exploding in Grand Rapids. After a little research, it was discovered that a local radio station, WGRD, was playing bits from my album in a somewhat Heavy category. They asked me to participate in their annual benefit Christmas party. That was an exciting event for me because it allowed me to connect with the people who were buying the album. My other interactions with radio include the Bob & Tom morning show in Minneapolis and the Mark & Brian program from Las Vegas, prior to the Holyfield-Tyson title fight. If you want my honest opinion, I just love radio!

Do you censor the material you perform on radio?

“People are always telling me that I can’t do any of my stuff on the radio. They are always afraid that I will say something I shouldn’t. I make a conscious effort not to repeat any of my stand-up, nor say anything offensive or objectionable while on the air.  There is a major difference between a nightclub and the radio. For example, when I was much younger, I remember watching Buddy Hackett on The Tonight Show. After the commercial break, Carson and the entire audience would be laughing hysterically. Because you weren’t there, you never knew what he said to make everyone laugh so hard that he couldn’t say during the show itself. As a result, people would then go to the live shows to hear the stuff they couldn’t see for free. Radio is an unbelievable opportunity in which hundreds of thousands of people listen to you-why would you want that opportunity to be censored?”

What was your experience like at the Gavin Convention?

“The whole experience was pretty unbelievable. I was the warm-up for a panel talking about some aspect of the music business. Of the nearly 350 people packing the room to see my 20-minute set, only 50 remained to hear the panel. Overall, I’m getting requests to do a lot of morning radio now–and it’s all because of my set at the Gavin.”

Have you ever been heckled?

“I’ve been heckled a few times in my career. When you talk about some of the topics, like sex, as intimately as I do, people are going to be somewhat intimidated. This is not because I pick on people or because of my physical persona, because I am a very vulnerable person onstage. I think, for the most part, people are afraid to say anything to me for fear of what I might say back to them.

“I remember one time specifically, where a woman started heckling me during my set–claiming my material just wasn’t funny. I responded with a quick line about taking her panties to Fotomat to have the film developed and she panicked. I don’t think anyone had said anything like that to her before. As a result, she sat in complete silence for the duration of the show.” 

Are you currently working on anything for television?

“I’m currently punching up a script with a few jokes for a movie with Martin Landau. We should probably begin shooting in a few weeks. It is somewhat of a spoof in the vein of Spinal Tap, except instead of the music business; this movie deals with the ups and downs of the comedy business. Some people will do almost anything to get ahead while others simply refuse to compromise themselves even at the sacrifice of the advancement of their career. I play a comic that is experiencing some hard times due to the content of the material performed. Martin Landau plays my agent who is also a little down on his luck. My character is his last chance at regaining some of that stardom he was once so accustomed to. It is really a very funny script and I am very excited to be a part of it.”

How long does it take to write a comedy routine?

“It all really depends on what is going on at the time. For the most part though, I try to write on the spur of the moment. In the course of a conversation, a particular subject might get a humorous response or something might be said that will stir other thoughts in my head. For example, the saying ‘There’s more pussy than you can shake a stick at.’ What does that really mean? How much pussy can you shake a stick at–is there a cut-off, or a certain predetermined amount (that I wasn’t informed about)?

“Another similar story revolves around a recent trip to a sushi bar. A friend suggested that I try sea urchin–with a guarantee that my balls would grow if I did. If this was true, would the rest of my personal anatomy shrink as my testicles grew? You would eventually need a wheelbarrow to carry your elephantiasis-afflicted testicles around. Now that would be a tough day! Besides, even under those conditions, would there still be room for Jell-O? These are the types of crazy tangents I think about when something I read or hear strikes me as funny.”

Do have a particular favorite bit?

While onstage, I really enjoy watching the reactions of the people in the audience to certain things that I say. Especially if the topic revolves around something on a personal level. I sometimes want to break out laughing because some people take the jokes so seriously, as if I was talking specifically about them and their private lives. Specifically, women come up to me after the show stating that I admit things that no man ever admits to a woman. It’s as if I am going to confession for the entire audience and through laughter the audience becomes absolved.”

What was it like making a comedy record?

“Making the record was pretty easy. The thing that scares me, though, is if the record doesn’t make it. Musicians can write and record a song in a day’s time; unfortunately, things don’t work that way for a comedy album. Comedians don’t have singles like musicians do. The current album represents the best of the material that I have to date.

“Besides, let’s face it–how many people really go specifically to Tower Records and browse through the comedy section? People just don’t actively look at what the new comedy releases are. If the comedian is fresh in their mind, they might purchase the album, but three days later, probably not.

“It is for these reasons that I really have to tip my hat to comedians like Richard Pryor, Steve Martin and Lenny Bruce, to name a few. George Carlin just released his 17th album. There are several comedians that have only one album and then never get a second chance. These comics had multiple albums–that’s how prolific these guys really are!

“There is an old joke that applies here. How do you get a musician off the doorstep? Pay for the pizza! The point being that everyone has to do something else while waiting for their dreams to come true.

“That’s why the people in Los Angeles are so funny. Nobody really seems to be who they are. I went to get gas across from CBS Studios the other day. While I was waiting, the attendant told me that he was really a screenwriter and awaiting a call from Paramount. What I wanted to tell him was, while he was waiting, would he mind checking the oil and cleaning the windows?” ^m^

Origin:

A Bronx native, Schimmel is now living in Los Angeles via Scottsdale, Arizona.

About The Current CD:

Comes Clean is Raunchy stand-up comedian Robert Schimmel’s debut album. The former writer for In Living Color and for comedians such as Yakov Smirnoff ranks at number 76 on Comedy Central’s list of the 100 Greatest Stand-ups of All Time.

Discography:

Comes Clean (Warner Bros., 1996)

Produced By:

William E. McEuen

Label:

Warner Bros.

Website:

www.robertschimmel.com

© March 15, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

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Interview By: Jo Robinson

Written & Edited By: Michael D. Vogel

© March 7, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:   

The Album Network magazine – March 21, 1997

The modern sound of rock’s landscape echoes from distorted guitars and angst-ridden lyrics of the younger alternative movement. By today’s standards, Aerosmith can be described as almost a dinosaur. However, Aerosmith is the biggest dinosaur around, and they scream extremely loud every three or four years.

Over the last 25 years, Aerosmith has definitely enjoyed the fruits of their labors. With over 70 million records sold world-wide, never-ending tours, video arcade games, a CD-ROM adventure game and a ground-breaking collaboration with rappers Run-DMC, the bad boys from Boston demonstrate that they are truly multi-dimensional. At the center of this onslaught are five totally dedicated musicians.

The band has always tried to live life on the edge, never afraid to pull the skin back and expose the true insides to one of America’s premier rock bands. Nine Lives, their twelfth studio album, and the first for Columbia in nearly fifteen years, erupts with the sex-filled, raucous bump and grind that longtime fans lust for, no matter what trends fixate the current climate of pop culture.

Let’s get right to the point – does Aerosmith have Nine Lives?

Steven Tyler: “I think somewhere around 20, based on our past behaviors, is a little more accurate. There are too many coincidences to name, in the life of Aerosmith, that aim solely in that direction.”

After a 15-year absence, why re-sign with Columbia? 

ST: “For the same reason a salmon spawns up stream. Sometimes you need to go back to where you came from. We had a lot of luck with CBS Records in the 70′s, mostly because they believed in us. When we found out that Donny Ienner and Tommy Mottola, who are stone-buck Aerosmith freaks, were now in charge of the label, we knew we had come home. Besides, they gave us an offer we couldn’t refuse.”

Joe Perry: “Actually, they came to us long before it was time to think about signing with a new record company. We were in the middle of our contract with Geffen at the time. But, they approached us anyway with a commitment to our long-term future that really blew our minds. Besides, most of our old records are now on Columbia. So it really has been a full circle, coming back to the home base, for this record.”

How did you come to collaborate with Glen Ballard? 

ST: “We learned early on that Glen is really a wonderful human being who loves to work with musicians. We wanted a producer that would encourage us to try different things, but at the same time have their business priorities happening first. Because Glen is our first new producer in years, we felt being in the studio with him really allowed us to try and start something new.”

How did the Middle Eastern influence come about? 

ST: “My parents used to play Donovan and Ima Sumak records when I was a kid. But the middle eastern flavor has been floating around for years. I’d be a fool not to credit the Rolling Stones and Glen Ballard as influences on my melodies. But the influence is infectious, affecting the songs `Nine Lives’, `Hole In My Soul’ and `A Taste Of India’ as well. So it just gave us a great excuse to stretch out a little.”

After touring for nearly two years in support Get A Grip, do you plan to be on the road that long promoting Nine Lives? 

Brad Whitford: “We have so many places to go, I don’t think there’s any way not to be on the road for that long. It’s not so much physically but more of a mindset.  With the level of excitement around this record and the fact that we are having such a good time really helps to promote the ease and longevity of the tour.”

How are the audiences abroad different from those in the United States? 

Joey Kramer: “In Japan, for instance, there are a lot of people who don’t speak the language but understand it what is being said. The only place where I have noticed a significant difference are those fans in South America. Those kids are really nuts, but, of course, I say that in a good way.”

ST: “We do this thing before `Crying’ where we get the audience to count off. It’s amazing how many places that don’t speak English, or have a very slight grasp of the language, are able to join in. In fact, the only place we had any trouble was Vermont – we just couldn’t get them to participate.”

How do you continue to motivate yourselves to play?

TH: “A lot of people think that we have already arrived at a certain point musically. Yet, it never feels like you are ever really quite there. Personally, it feels as if I’m only half way to where I want to be with this instrument. But, like any exercise, there is a physical as well as a spiritual side you have to keep up with.”

JK: “Playing a musical instrument is like having a life-long love affair. As a result, you never reach a true level of perfection. The biggest part of it comes back to the mindset. If you think you can-you can, and if you think you can’t- then you can’t. After we gear up to do a record, which could be anywhere from five months to a year, I like to get away and distance myself from it altogether. That way, when you come back to it, everything sounds fresh and new again.”

When writing new material, do you think about simply maintaining the die-hard fans or do you look at bringing in new fans as well? 

ST: “We’re just thinking about making a record that we like and are proud of. We don’t sit around pondering whether people will like this song or that song. We are people too, not unlike 80 million other rock fans out there listening to the music. So, we try to please ourselves first and along with that the people who enjoy our music.”

After nearly twenty-five years, countless albums and tours, what keeps Aerosmith together? 

ST: “I think we all realize what we are as a band and what we couldn’t be singularly. An intense amount of energy is created when we get together. The love affair of writing a song and getting it back almost immediately is absolutely incredible. We all have aspirations of things we’d like to do, but we also get direct results out of being together in a band. For example, people come and see our concerts and buy our records. We also write songs that, keeping my fingers crossed, in some cases the world will hopefully sing along with. To have these kinds of things come to fruition is really second to none.”

In the past few years, the music world has seen many tragic deaths of up-and-coming artists. Do you feel, as a band or as individuals, any sense of responsibility to try and help? 

ST: “It was a good thing the band broke up when we did. We got a chance to see that the band was the most important thing in the world to us, not the drugs and alcohol. If it meant giving up certain substances, then so be it. As a result, we have been asked many times to tell people of the dangers of drug and alcohol abuse. But, that’s like telling a clinically depressed individual to cheer-up. People use drugs and alcohol because it makes them feel good. In order to change their lives, they need to hit rock bottom. The best thing we can do is accept we had a problem and know we kicked it. There is always hope. For us, it was the band and the music.”

Having performed with Stone Temple Pilots and being friendly with Scott Weiland, have you shared some of your personal insights with him? 

ST: “I choose to call it my program. It’s something personal between Scott and myself that I don’t really want to make public. However, I can tell you, he is doing great. He’s really trying and that’s what is important. This is going to be an on going process for him. Personally, it took me three or four times through rehabilitation before I came around. But, unlike other people, I choose not to talk about it.” ^m^

Origin:

Boston, MA

Line-Up:                                                                                              

Steven Tyler – Vocals/Keys/Percussions/Hammer/Dulcimer/Harmonica    

Joe Perry – Guitar/Dulcimer/Vocals                    

Brad Whitford – Guitar                                       

Tom Hamilton – Bass/Chapman stick

Joey Kramer – Drums

About The Current CD:

Nine Lives is Aerosmith’s 12th studio album; the first to be released by Columbia in 15 years.

Discography:

Nine Lives (Columbia, 1997)                           Night In The Ruts (Columbia, 1979) 

Get A Grip (Geffen, 1993)                                  Draw The Line (Columbia, 1977)

Pump (Geffen, 1989)                                            Rocks (Columbia, 1976)

Permanent Vacation (Geffen, 1987)            Toys In The Attic (Columbia, 1975) 

Done With Mirrors (Geffen, 1985)                 Get Your Wings (Columbia, 1974)

Rock In A Hard Place (Columbia, 1982)     Aerosmith (Columbia, 1973)                         

Produced By:

Kevin Shirley with additional production by Aerosmith

Label:

Columbia 

Website:

www.aerosmith.com

© March 7, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

Music Reviews – Rock Formats Music Meeting (3.7.97) 

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By: Michael D. Vogel

© March 7, 1997. Michael D. Vogel.  All Rights Reserved. 

Published in:

The Album Network magazine – March 7, 1997

Queensrÿche

Song: “Sign Of The Times”

From The Release: Hear In The Now Frontier 

Label: EMI 

Members: Geoff Tate – Vocals; Chris DeGarmo – Guitar; Vocals & Keys; Michael Wilton – Guitar; Eddie Jackson – Bass; Scott Rockenfield – Drums

Producer: Peter Collins

Origin: Seattle, WA.

Website: www.queensryche.com

What You Should Know: Building on the momentum of their last three albums, Operation: Mindcrime, Empire and Promised Land, Queensrÿche began writing material for Hear In The Now Frontier while out on the road. The band was eager and ready to record back in May of ’96, but decided to hold off until the talents of producer Peter Collins (Operation: Mindcrime and Empire) could be employed. Also joining the band to record and mix was Toby Wright (Alice In Chains, The Wallflowers). Ultimately, Queensrÿche started recording last October, splitting their time between Nashville’s 16^th Avenue Sound and Seattle’s Studio Litho (owned by Pearl Jam’s Stone Gossard). With Lyrics by Tate and DeGarmo, “Sign Of The Times” is both a personal story and a social commentary. This track can be easily labeled as a song for the 90’s, with a plea for people to broaden their personal perspectives and make a conscious effort to resolve some of the chaos that revolves around our world. ^m^ 

Hair Of The Dog

Song: “Sweet Lady Vegas”

From The Release: Hair Of The Dog 

Label: S.E.G. 

Members: Ryan Cook – Vocals & Guitar; John Sepetys – Guitar & Vocals; Brian “Boots” Saputo – Bass & Vocals; Johnny “Thunder” Evans – Drums, Percussion & Vocals

Producer: Hair Of The Dog, Matt Gruber & Jim Albert

Origin: Los Angeles, CA. via Topeka, KS., El Paso, TX., and Detroit, MI.

What You Should Know: Brought together by songwriter/producer extraordinaire Desmond Child, Hair Of The Dog are set to unveil their first full-length project. A well-crafted blend of solid rock and impressive musicianship, Hair Of The Dog play good clean quality rock that, at times, reflects the influences of Van Halen, KISS and Ted Nugent. The buzz started with “Cadillac Jack” (on Album Network’s Tune-Up #154), which received airplay at KLOS/Los Angeles, CA. and KSHE/St. Louis. The first track from their self-titled debut delivers loud screaming guitars and a solid vocal delivery, making “Sweet Lady Vegas” a smoking rock track. ^m^

Our Lady Peace

Song: “Superman’s Dead”

From The Release: Clumsy 

Label: Columbia 

Members: Raine Maida – Vocals; Mike Turner – Guitar; Duncan Coutts – Bass & Keys; Jeremy Taggart – Drums

Producer: Arnold Lanni

Origin: Toronto, Canada

Website: Ourladypeace.net & Ourladypeace.com

What You Should Know: Coming off the critically acclaimed Canadian multi-platinum album Naveed, which spawned the Rock and Alternative hit “Starseed,” Our Lady Peace is set to release their second full-length album, and debut for Columbia. Led by singer Raine Maida, Our Lady Peace uses airy keyboards and guitars to paint a celestial vision with sharp and steady percussion in a blend of sonic poetry. Reflecting on a time of innocence lost, the lead single “Superman’s Dead” showcases Maida’s vocal style over soaring guitar riffs and a pulsating drum attack that gives the song its swing.

“Superman’s Dead” is already on several stations, including KSJO/San Jose, CA., WRCX/Chicago, IL., WAAF/Boston, MA., WEDG/Buffalo, NY. and CIMX/Detroit, MI. Our Lady Peace’s release of Clumsy ensures that Canadian positive pop rock will continue to be a force in the varied formats of Rock and Alternative Radio!  ^m^

Type O Negative

Song: “In Praise Of Bacchus”

From The Release: October Rust 

Label: Roadrunner 

Members: Peter Steele – Vocals & Bass; Kenny Hickey – Guitar; Johnny Kelly – Drums; Josh Silver – Keys

Producer: Josh Silver & Peter Steele

Origin: Brooklyn, NY.

Website: www.typeonegative.net

What You Should Know: Type O Negative has won over many rock stations along its nine-month assault in support of October Rust, including WMMS/Cleveland, OH. and WRAT/Monmouth, NJ. On their previous effort, Bloody Kisses, the band toured for 18 months, with such rock notables as Nine Inch Nails, Queensrÿche and Mötley Crüe – and Type O shows no signs of letting up. Fresh off the success of “Love You To Death” and “My Girlfriend’s Girlfriend,” Type O is ready to unleash its third single from October Rust. With vocals that show the influence of Bauhaus, “In Praise Of Bacchus” is a musical intersection of Black Sabbath and The Beatles, and is multi-layered Goth-rocker that mixes the best elements of its predecessors with a modern flair. Light synthesizer arrangements combine with dark guitars, and a haunting refrain should help to keep Type O at the forefront of Active Rock. ^m^

© March 7, 1997. Michael D. Vogel.  All Rights Reserved.  This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel

© February 21, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – March 7, 1997 

Reading through the history of INXS, one of Australia’s most prolific bands can be rather time consuming. Here’s the Reader’s Digest version: Over 20 million records sold, tens of thousands of concerts, numerous hit songs, MTV awards, Brit awards and several Grammy nominations – all by the same six men over the last seventeen years!

Now that you are caught up, INXS is about to release their first album for Mercury Records, Elegantly Wasted. Just as every note recorded for the album was crucial to its completion, so has every moment in the illustrious, unpredictable – and occasionally erratic – career of INXS. For every bit of familiar cocky swagger on the opening track, “Show Me,” to the depths of bittersweet desperation on “Searching” or the poignant introspection of “Building Bridges”, this record shows a whole new side to the band from down-under. Add moments of pure pop bliss and the intoxicating groove of the title track and you’ve got a time capsule of INXS past, present and future.

While wrapping up a long day that included a three hour rehearsal at London’s Wimbley Stadium, several other interviews as well as a photo shoot, I was able to track down lead singer and co-song writer Michael Hutchence as he was traveling across the streets of London on his way to a relaxing evening of nine-ball and a few pints with some friends.

What has been going on with INXS since the last studio album over five years ago?

Michael Hutchence: “We really wanted to get off the old carousel for a while. As a band, we have recorded an album every twelve to eighteen months over the last five or six years. This helped to create a situation resulting in a lot of personal and business friction within the band, as well as the record label, at the time of the completion of our last studio album Full Moon, Dirty Hearts. With the completion of the album, we also fulfilled our contract with Atlantic Records. So, it just seemed like the logical time to take a break.

“But, this was by know means a down period. Andrew (Farriss) helped in the production and writing of both Yuthu Yindi and Teddy Richard’s albums. Tim (Farriss) produced a CD-Rom game, the X-Samples. I had a few songs on movie soundtracks (Batman Forever and Barb Wire) and recorded a song with the London Symphony Orchestra as well as a track on the Elvis tribute CD, It’s Now Or Never.

“And somewhere in the last several months Andrew (Farriss), Garry (Gary Beers) and I have all had children.”

How would you describe an INXS fan?

MH: “We were so young when we first started that our audience was about the same age. For the most part, they have grown up with us. But there are some pretty drastic differences in the fans from various countries. In Germany, for example, the men where leather jackets, in contrast to Italy, where all the women wear leather. But, over all, our fans in the United States seem to be the most enthusiastic.”

Where does INXS see its place in the current, yet radically different, musical landscape?

“Music has come full circle. When we first arrived, the United States was in the midst of a musical evolution. Music from England and Australia was making it onto American radio and the hot topic was `New Wave’ music. The same is true today! A few years ago the Seattle scene and grunge sound turned the music world right around. In the end, the by-product in the evolution of music is that people become more aware of the changing face of music itself.

“We come from a generation, somewhere between punk and disco, of which there are not many survivors left. Musically, we are in a very strange place. Not quite a punk band when we began, our music now shows influences of both R&B as well as funk-a-delic. A lot of bands, like U2, the Cure, Massive Attack and Depeche Mode, seem to be cross-pollinating the different genres of music. This is definitely a good time to be recording music – the horizons are once again widening!”

After a five-year lay-off, how did you capture the passion and spontaneity in writing and recording the new material?

“Our intention, whenever Andrew (Farriss) and I got together, was to write material that would be part of the next album. We made a conscious decision to use the proper recording tapes and microphones from day one. In the past we used 4-tracks machines and other portable home recording equipment. This time around, we used only proper studio equipment to record everything. A good portion of the material on the album came from first take recordings. This helps to capture just a bit of the magic.

“During the writing process, we completed one song a day. Everyone was confident with the material so we didn’t concentrate on the minute details. In addition to using samples and loops, we also brought in Cuban percussions as well as a few new musical instruments. This added a whole new dimension to what the INXS sound is all about. The main thing was to use what sounds good and keep up the attitude and positive atmosphere. As soon as you depart from that mode of thought, your only asking for trouble. But isn’t that is the ultimate price for being an artist. You can only make the album that is within your own abilities. In all, it took eight days to record the sixteen tracks on the record.

“On albums like Kick, X, and Listen Like Thieves it was simply the attitude that stuck out. When the band is very confident about something, that positive feeling comes across throughout the music. As a group, we wanted to get back to that style but not at the sacrifice of rehashing old material. The whole creative process is a very fine line to tread and INXS has always been somewhat of a balancing act.”

How concerned is INXS with commercial success?

“We are only six guys from Australia with a pretty healthy attitude towards the roller-coaster ride in the music business. For the most part, we are just as happy to be the underdog as well as the guys on top of the music scene. As far as the band is concerned, we made a great record and are hoping that it will make a solid impact in the music world of today.”

What is the story behind the title track, “Elegantly Wasted?”

“It’s the story of life. Our intention is to show the paradox of reality in the world. People are always searching for rights and wrongs but don’t necessarily know where to look to find the proper answers. It can drive you crazy. For the most part though, the song means different things to different people. It’s all about perception versus reality.”

What prompted the band to go outside the conventional stream of musical instruments for this album?

“For the last several years we have been looking to break away from conventional norms and experiment with the addition of new sounds into our music – this record seemed to be the perfect time. Bruce Fairburne, who helped co-produce the album, was originally a trumpet player. This proved to be an extra bonus for us. For example, on `Girls On Fire’, we were able to add a new element to the INXS sound by incorporating Cuban Percussions.

“On the other hand, the scales and instruments on `Thrown Together’ are an area that Andrew (Farriss) has always been interested in. There are just so many different types of instruments out there in the world; it’s crazy that most bands limit themselves to the same four or five instruments. The curiosity comes when you try to mix these new instruments with conventional music to see what type musical style prevails.”

What is the message in the last track on the album, “Building Bridges?”

“The song talks about a loss of innocence yet hints at sense of hope. Believing in who you are and what you have to offer is the key. Everyone has the ability to reach out to others in times of need, know matter how painful it can be. We all need the support of others to survive. If we are all going to build bridges to others then we must first learn to comprise and be open to new ways of thinking, Only then, ultimately, will this world be a better place for all of us. If there is one lesson to be learned, let it be this – In the end, all we have as individuals is the ability to reach out to and help each other.”

What does the future hold for INXS?

“Our first point of touring will be in the United States, which we hope will be sometime this summer. We want to start with a small intimate club tour in ten major cities just to prove that we exist. These smaller venues bring us back to our roots from where we first started. There is something very powerful about a captive audience of eight hundred to a thousand people. It allows us to bring a high-energy show to an intimate group of fans. We did a small club tour for the `Full Moon, Dirty Hearts’ tour and it was one of the best things we have done live, as a band, in years. Ultimately, our intention is to rip the roof off a few thousand seat venues and then come back around on a proper, full-blown tour later on in the year.” ^m^

Origin:

Originally from Australia, the band has now relocated to London, England.

Line-Up:                                                                                    

Michael Hutchence – Vocals & Guitars          Jon Farriss – Drums     

Andrew Farriss – Guitar & Keys                       Garry Gary Beers – Bass

Tim Farriss – Guitar                                                Kirk Pengilly – Guitar, Sytar & Saxophone

About The Current CD:

The present CD is the tenth overall album for INXS, the first to be released by Mercury Records. Due in April, Elegantly Wasted is as good if not better, as familiar yet as different, than anything the band has done before.

Discography:

Elegantly Wasted (Mercury, 1997)                                Listen Like Thieves (Atlantic, 1985) 

Full Moon, Dirty Hearts (Atlantic, 1993)                     The Swing (Atco, 1984)

Welcome To Wherever You Are (Atlantic, 1992)    Shabooh Shoobah (Atco, 1982)

X (Atlantic, 1990)                                                                  Underneath The Colours (Atco, 1981)

Kick (Atlantic, 1987)                                                            INXS (Atco, 1980)

Produced By:

Bruce Fairbairn with Andrew Farriss

Label:                                                                                        

Mercury                                                                                     

Website:

www.inxs.com

© February 21, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.