… Continued from Thursday, November 5th

Q: Over the years has there been one artist that’s particularly stood out as the best or most interesting to work with?

A: Definitely the main one is Elton: the most amazing songwriter and singer and all around artist and performer that I’ve ever met. But I’ve been very lucky; I’ve worked with lots of great bands. Jimmy Page was another one I learnt a lot from and Paul Rodgers is probably the best singer I’ve ever worked with [...] he made an album with Kenney Jones, the drummer from The Who, and they had a band called The Law and he’s definitely one of the best artists I’ve ever worked with. Not the easiest [but] usually the best artists aren’t the easiest to work with. Chris Rea who I worked with and sang with, I sang on backing vocals on his album [...] I’ve been very lucky. I have worked with Oasis, and I worked with Robbie Williams and, you know, I worked with some pretty big artists and it’s always, even if you’re not into their music, it’s always interesting to see what makes them the way they are.

My big hope now is to be able to [...] come across an artist for myself who’s in the early stages of their career that I can then use all my experience to help fulfill and hopefully make into a similarly big recording artist, which is what we’re trying to do with Kendal Sant at the moment. [...] You know I still love making music with people, still love making records, still good fun. Which is a bit surprising really because you think it’s something you might grow out of, but it’s still good fun.

Q: As you mentioned, now you’re focusing your attention on up-and-coming artists, how do you find them?

A: I don’t really look. I’ve got a twenty-four year old son and he told me about MySpace and initially I couldn’t work it out at all, I thought “This is really peculiar”, but it’s been brilliant for me. Bands just come, you know, it’s a way of people getting in touch with me who wouldn’t be able to normally. So I don’t actually do much looking. It’s mainly people just coming to me and that’s how I met Kendal and I probably worked with twenty bands or so from MySpace.

Q: So when an artist/band approaches you are there any specific traits you’re looking for in order to say ‘Yes’?

A: What do I look for? Well, I would like it to be the next Beatles really. I mean, that’s what I’ve been looking for. If it’s a good project and if it’s got some sort of merit at all then I’m interested in it [...] unfortunately, there’s always something seems to be lacking. Whether it’s the songs or whether it’s their timing or something, but anyways its really down to the challenge of it as much as anything else. It’s trying to get the very best record that I can from what’s there.

Q: Who are some new artists that you’ve seen potential in and that people should look out for?

A: Well, the main one is Kendal, to be honest. And then, as I say, there’s some of these other bands that are not bad, but I haven’t come across anything sort of extraordinary. [Vivid Sky] is just well ahead of, their capability is well ahead of their years. They’re probably the best, because of their age, that I’ve come across. The guitarist, he’s just turned sixteen, and he’s extraordinary so, you know, I was a bit amazed. It’s very unusual to find young guys of that age who play so well.  I always felt this thing that most youngsters are copying bands from the 90s, but the bands from the 80s and 90s weren’t that great either in my opinion [...] so this guy is really, for his age, is extraordinary.

Q: Having worked in the music industry for such a long time, what are some major changes that you’ve seen?

A: I suppose the main one is the internet, isn’t it? I could say that the recording technology, there’s been a lot of different changes [...] I started in ’67, we’re talking about forty years, multi-track recording wasn’t even invented. So, obviously, technically recording techniques have changed [beyond] recognition until now anyone can record multi-track almost on their wristwatch, let alone at home. So from a technology point of view it’s completely changed.

But the amazing thing is that, in a way, music has reversed. Maybe it got as far as it could get [...] from the 80s onwards it seems to have retarded almost, pretty much copying from the 60s. In some ways it’s a bit sad to think that there was nowhere else to go but back, but obviously from my point of view it’s an amazing thing because, you know, on MySpace every band’s favorite band is Led Zeppelin and ‘cause I worked with Led Zeppelin or The Beatles or, you know, they mention Elton or whatever; it’s like the music that I grew up with is just as valid, if not more valid, with youngsters today [so] I can relate to kids that are making music now very closely.

And then there’s a lot of things that are missing now I find. That’s probably why they listen to The Beatles or they listen to Zeppelin and they just think “Wow.” But the thing is that Zeppelin weren’t listening to Zeppelin type bands, they were listening to blues and stuff related to the 20s or the 30s [...] some of that music was also quite complicated and complex, that you had to really learn your instrument and it’s not so often you find musicians that have the same sort of standard and quality of the 60s and 70s, which is a bit of a shame. It’s a little bit more disposable now I think.

Q: Once you find an artist you’d like to work with, what happens next?

A: So before going to the studio I’ve hopefully heard some sort of demo of the song and then I might have ideas on that; the arrangement maybe needs changing or something needs changing [...] there’s normally something, otherwise they don’t need me. Whatever it is that needs improving I would mention, I would put forward, and if it’s fairly radical then we would probably have some sort of pre-production get-together and rehearsal [...] But there isn’t a standard to be honest. It’s not a standard situation ‘cause every band is completely different. And although its still Rock and Roll and its still Rock and its still music, you know, every band has their own dynamics and you have to just approach [...] every situation as to what’s required to make it better than it already is.

The main thing is that the band likes it. That’s the main thing for me, is that when we finish the session they just go “Wow, that’s just great. It’s better than we ever imagined it.” And obviously commercial success following that would be an added bonus, but the main thing is to get the product as good as possible.

Q: What’s been one standout moment as Stuart Epps so far?

A: There’s just been lots of them, and a lot of them have been in the studio when you get these magic moments when you’ve got Paul Rodgers and a band and they’re all playing live and you’re recording this song and you’re knowing that this is the master and that this is absolutely brilliant music being made, and I’m recording it and I’m just praying that it’s all going on tape and nothing’s gonna break down in that four minutes, or whatever it is.

Or, you know, [...] when I use to work with Elton and he’d play me a new song, or when Chris Rea played you a new song [...] and then definitely magic moments on tour. When John Lennon came up on stage with Elton and you feel that atmosphere from a 20,000 people auditorium, when your friend is playing to that amount of people [...] but I can’t think of one particular standout [...] but I still get a kick out of going to Elton gigs and there’s 20,000 people singing his songs and I can remember when I was listening to them as demos.

Q: So no plans for retirement any time soon?

A: Not really, no. I can’t afford to stop. There’s a lot of people around me keep saying that they’re retiring and I say “Well, I don’t feel like I’ve started yet.”

For more on Stuart Epps: http://www.myspace.com/shwepp and http://www.stuartepps.co.uk/

In 2006, John Wilkes Booth released a self titled EP. The tracks “The Inner Workings” & “Only the Facts” were featured on the Compilation “Fumes from a Dead Scene” in 2007. Both received praises from fans as well as critics.

John Wilkes Booth abides by a strict “no-pay-to-play” policy, refusing to financially compensate venues in order to be added to the bill. The band’s popularity has featured the foursome playing shows along the east coast with such national acts as The Hidden Hand, La Otracina, Zoroaster, Puny Human, Solace, Wooly Mammoth, and Wrecketh. The NY Speed Coalition reviewed the Booth show at Bar 131 and stated, “The dirt rock assassins played an absolutely flawless set of bone shattering, ground shaking hard rock.”

In May of 2008, Aural Fix, a Long Island magazine covering the local music scene, featured the band on the front cover. In 2007, John Wilkes Booth was chosen as a featured band on Fatcat Radio as well as selected as band of the week for Joe’s
Podhole. In June of that year, they were voted by listeners as band of the month on local radio station, Radiox. Podcasts and word of mouth have turned on audiences across America and the world.

Let Sic Semper Tyrannis assault your ears with the sound that so many fans have been waiting for. Let John Wilkes Booth assault your mind, given the opportunity they most certainly will gaining your full consent as they do!

Myspace http://www.myspace.com/jwilkesbooth

Test out ‘Eye Rack’ courtesy of John Wilkes Booth and rockandrollreport.com

Mark

Since 1967 Epps has immersed himself in the music industry, stating out as an office boy at Dick James Music at the age of fifteen and going on to become a praised producer and engineer. He even toured America with Elton John in the early 70s as his personal assistant.

Mr. Epps was kind enough to call in to The Rock and Roll Report from his UK home for a retrospective chat about his marvelous 40+ year career.

Q: Going back to the very beginning, how did you get involved in the music industry?

A: I was in bands from about the age of eight or nine and one guy who I was in a band with, and I also went to school with, [...] got this job working for Dick James as an office boy. That was probably about 1965 or ‘66 and he use to come home with all these stories [...] that he just went to Paul McCartney’s house, he got the new Beatles album [...] all these stories were just magnificent about him and the music business and how exciting it was.
A year passed and he said that he was looking for his replacement so that he could be promoted and I was just starting school, I was only 14 back then [...] but I just thought, “Wow, this could be an opportunity.” So, I mentioned it to my parents who I just thought would say, “You must be joking, you’ve got to start school,” and my dad said “Well, you know, if you want to do it then go and do it.” I just didn’t need any more encouragement than that.

I went for an interview and got the job as office boy. It was an amazing time. It was 1967 in London, it was flower power and hippie time, and I was earning $10 a week, which was about $9 more than I’d been getting, so I was like a millionaire and getting these incredible jobs: go to Paul McCartney’s house, go to Abbey Road Studios. It was a great way to find out about the music business really. Even though it was the lowest of the lowest jobs, to me it was absolutely brilliant. Everyday was great and I could probably talk about that period for about six hours and we can’t really do that! [laughs]

Q: So you began as an office boy and then where did your career path take you?

A: At that time there was a bit of a natural progression [...] Dick James, it was a music publishers then, one of the biggest in the country, but it wasn’t a record label so you went from office boy to disc cutter, and then from disc cutter you could go in the studio and become assistant engineer and then maybe engineer. And I sort of went from office boy to disc cutter and then I started working in the studio.
At that time I’d also met Elton John, or Reg Dwight, [...] everything happened incredibly quickly. It’s incredible to think that I was there when I was fifteen and by the time I was eighteen I was on tour with Elton as his personal assistant in America. It was quite a big team of people involved in making Elton John into a major recording artist [...] and that’s what everyday was involved in doing really. I was [also] producing at the time. [...] They were unbelievably exciting times. It’s only now that you realize just how exciting they were. Everyday was amazing music being made and incredible bands and it was all very exciting really.

Q: Touring America with Elton John at the age of 18; what was that experience like?

A: I’d never been on tour before, I’d never been to the States, and now we’re embarking on a three-month tour [...] but the thing is it was all kind of new to everyone [...] we were all sort of kids in a way, experiencing it the same. So exciting [but] it’s still a job, it’s still work [...] it’s not all parties and groupies. There were a few, but not for Elton, you know, he was a good boy. [laughs]

The audiences in America and Canada were absolutely incredible. We’d never seen anything like that [and] I haven’t seen anything like that since, to be honest. They took him to their heart instead of just polite, you know, applause. Whopping and yelling: they liked to have a good time. Not like London audiences where they would sit there and see what’s going on, they really loved him, you know, they loved the band. And touring in America you felt you were doing something exciting, whereas in England you just got told you got long hair and get off the bus or something. In America and Canada you felt like a special person doing it.

Q: Was Elton John just as eccentric in those early days as he is now?

A: Absolutely. He was eccentric long before he was eccentric on stage. He was always eccentrically dressed, he’s always been a mad comedian; he’s got an incredible sense of humor. He was never ordinary. Ever. And he was always a larger than life sort of guy and as popularity took him he could just be more eccentric really. And the wealthier he got the more outrageous the costumes got. That’s what he loves to do; be outrageous. In fact, if he weren’t outrageous he’d be extremely shy and would not want to be noticed at all. There’s a lot of people in the business like that: they’re either going to be not noticed and be completely obscure [or dress up] as Mickey Mouse, which is what he did in Central Park [...] but that’s what you need to be a big star: you need to be a bit larger than life.

Q: Getting back to England from the tour, where did you go from there?

A: [Dick James Music] had a record label now and I was working for the head of the record label who was Steve Brown. So, we talked everyday [about] Elton John albums, sorting out album sleeves and more tours and everything to do with the band, and that’s how it went on to 1973. Then Elton and Gus Dudgeon, who was his producer, and Steve Brown decided to form a record company which was Rocket Records. I went to work there as well for the head of that company, so it was a big move really. Dick James wasn’t very pleased we all started leaving.

Q: How where the years at Rocket Records?

A: I was an A&R there and we signed a band called Longdancer who had a guy in the band called Dave Stewart who then went on to form the Eurythmics. We signed Kiki Dee, that was my next big project: getting her band together and getting her albums together, and I did that for quite a few years. In fact we went on tour, that was the last tour I did in America, in 1974 with Elton and Kiki’s support and that was an extremely big tour. We met John Lennon on that tour and John came on stage with Elton at Madison Square Garden’s [...] But then coming back to England [...] It was all not as good as it was. Steve Brown had left, he was the guy that I was really working closely with, and I don’t know, nothing seemed to be the same.
In the mean time I’d met a girl who lived in an ice cream van in Hawaii and I thought, “That’s what I want to do, I’m going to go and live there and sort of retire really.” Just before I did that I was sort of saying goodbye to everyone and then Gus Dudgeon said he was building a studio, the ultimate studio, and would I be interested in looking to see where it was going to be built [in Cookham][...] I just thought the idea was brilliant and it’d been a long time since I’d been involved in making records hands on as producer or engineer and so I just thought, “Wow, this could be great.” So I had to tell the lady in Hawaii that it was all off and I wasn’t coming. I then moved to Cookham [to the Mill Studio] and this was when I was about twenty-three.

Q: So you took on the studio job, how did that go?

A: I worked with Gus, became his engineer and worked on Elton albums again and we worked on Kiki Dee and we had Chris Rea [but] Gus sold it to Jimmy Page in 1980 and then Jimmy wanted to keep me on at the studio [...] I wasn’t a big Zeppelin fan, I mean, I obviously liked them and I knew all about them. Jimmy was quite a strange person; I didn’t actually meet him for three months when I was working with him. It’s like working for Howard Hughes a bit, you know, he really was eccentric and a very strange guy, but I became his engineer and we recorded, we mixed, the last Zeppelin album. Then, because of his connection with heavy rock, I then started producing artists for Atlantic Records, which were Twisted Sister, Vandenberg [...] that was all a very good period as well.

Check in on Saturday, November 7th, for Part 2 of 2.

For more on Stuart Epps: http://www.myspace.com/shwepp and http://www.stuartepps.co.uk/

What do you think of the list? And what the hell is Indie Rock?

Petersen’s solo record distinguishes itself from Shutterspeed with its organic and acoustic feel, yet he has not abandoned his instinct for writing solid melodic hooks. Sprinkled into the mix you’ll hear some well-placed harmonica, mandolin, pedal steel, and banjo, but it would be a misnomer to call this country or folk – it’s more pop rock with an alt-country flavor. The production is remarkably good – bright, crisp guitars whether strummed or picked.

Petersen’s voice sounds somewhere between Bob Seger and Ed Roland (Collective Soul), just perfect for this type of roots rock. Highlights include the upbeat harmonica-enhanced “A River Near Here”, the swaying “It Gets That Way”, and “I’ll Come Running”, a veritable tribute to classic Bob Seger. There is also a great cover of “Soul Deep”, an all too often forgotten gem by Wayne Carson Thompson made famous by The Box Tops in 1969. Finally, “Hide” is a stripped down and beautifully performed acoustic ballad that quietly closes the record.

If this were basketball, “The Universe, And Its Sense Of Humour” is nothing but net. A fantastic debut that hits all the right buttons. Recommended for fans of Ryan Adams, Will Hoge, and Counting Crows.

iPOD-worthy: 1, 2, 4, 7, 8, 10, 11

Andrew Petersen on MySpace. Official site. Get it.

Lita Ford has often been called the “Queen of Hard Rock”, and with a career as successful as hers, it’s no surprise. On the scene since her teenage years, Lita played with legendary Runaways before embarking on a successful solo career.

She’s best known for her 1988 commercial smash hit, Lita, which spawned hits like Kiss Me Deadly and the famous Ozzy Osbourne duet, Close My Eyes Forever.

In the late 90s Lita exchanged her musical career for quaint family life on a secluded Caribbean island and it wasn’t until October 6^th of this year that she released her first studio effort, Wicked Wonderland, since her 1995 Black album.

The rocker was kind enough to chat with The Rock and Roll Report about all things Lita Ford. From the new record, to personal life, to the future of rock – nothing was left off limits.

Q: It is such a thrill to see you back on the scene after all these years. What was the driving factor to make a new record after a 15-year hiatus?

A: Rock n’ Roll is in my blood. Always has been and always will be. I was just waiting until my kids were ready and now they are totally ready. They have as much fun as Jim [Gillette] and I do!

Q: Wicked Wonderland sounds way heavier than anything you’ve done before; I think a lot of fans expecting the 80’s sound will be surprised…

A: Well, if they want to hear the 80’s songs I have a bunch of albums from the 80’s. After 20 years I’ve grown and matured as an artist [and] I hope my audience has also. The old songs are fun to play live so come to a show and you’ll get the best of the old and the new!

Q: Your husband, Jim Gillette [from the band Nitro], had a big hand in writing, performing, and recording Wicked Wonderland. What is it like to work as a husband and wife team?

A: It’s wonderful. Jim and I are soul mates. We work very well together in all that we do. Besides, he’s the best singer on the planet!

Q: A lot of today’s Heavy Metal focuses on politics, religion, injustice, but your new record is overtly sensual, virtually a concept record about sex.  Was this a conscious decision to buck the trend?

A: No, it just started pouring out of us. All of the songs are about Jim and I [and] our relationship. It’s a very personal album. The songs came from the heart and the crotch!

Q: You and Jim live on a deserted island in the Caribbean with your two boys; did that environment influence the musical or lyrical directions on the record?

A: Well, I suppose everything influences your soul and thus, your music. It wasn’t a conscious thing, but I’m sure it did.

Q: I often like to ask people what their “Top 3 Desert Island Records” would be. You can literally answer this question!

A: Well, we were on a deserted island by choice! [laughs] We have Hendrix, Metallica, The Ramones, AC/DC, Priest, things like that. The classics.

Q: Having worked with Ozzy, what are your thoughts on how his career has evolved through the years, relative to yours?

A: Ozzy was, and is, great. I think Close My Eyes is both of our highest charting song. Pretty cool, huh?

Q: Would you ever do a reality TV series like he did on MTV’s The Osbournes? Something like The Fords or The Gillettes?

A: We’ve been approached quite a bit on a reality show. When the right opportunity presents itself, we would definitely consider it.

Q: The video game Brutal Legend uses Betrayal from Wicked Wonderland, how did that come about?

A: The creator, Tim Schafer, actually wrote to us at our MySpace. We called him up and hit it off and said “Hell yeah! What a great game to be a part of.” We’re big Jack Black fans [and] I get to be the Queen!

Q: The tour just started on October 15^th; how does it feel to be back on the road? And with Queensryche no less.

A: It’s wonderful, an honor! They are extremely talented and a great group of guys. Our whole family gets along great with them and their crew. Awesome experience!

Q: You were, and continue to be, proof that women can rock. Are you happy to see bands like Paramore, Damone or The Donnas keeping that flame alive?

A: I’ve been on the island so long I really haven’t heard these girls. We had no TV or radio out there, so it was impossible to keep up with what was happening. I’m sure that I’d like them; any girl that rocks is cool in my book!

Q: We’ve been hearing that Rock is dead for a number of years now. What is your take on this?

A: I don’t think that rock will ever die. I think it will continually evolve and go in different directions, but that keeps it exciting. I love that the new generation is being exposed to the classics with games like Brutal Legend, Guitar Hero, Rock Band etc. Rock n’ Roll will never die!

For Tour Dates and more: www.myspace.com/litaford
Find even more Lita at: www.facebook.com/litaofficial and www.youtube.com/officiallitaford

Wicked Wonderland

Wicked Wonderland

Lita

Lita Ford – The Complete Video Collection

Does he sound like his father? If he is complaining that his CD is currently going for less than one dollar in the used bins, then yes. But otherwise, if I didn’t know better, I would never have guessed he was Kenny’s boy.

Did his father help with any of the songs? No – whether that is a good or bad thing is a matter of personal opinion.

What has he done that his father hasn’t already? Crosby won MTV’s reality show “Rock the Cradle”. That has to look good on your resume.
Is he fond of beards? Evidently.

Will any song from “Time To Move” be featured in a testosterone-driven action movie? Most definitely not.

Crosby Loggins is attempting to carve out a niche of his own here, as the title might suggest. He sounds quite comfortable but not all that confident yet. “Time To Move” primarily consists of run of the mill light rock with simplistic lyrics about girls and love – sound familiar? His vocal performance is adequate, but nothing that stands out in the crowd. He probably has it in him to dazzle us more than he does here. The good news is that the melodic fruit did not fall far from the tree – the most memorable tracks include the upbeat numbers “Good Enough”, “Better Days”, and “Radio Heart”. Incidentally, “Radio Heart” was co-written with Glen Phillips (Toad the Wet Sprocket). Another guest star is John Mayer, who supplies the guitar solo on the title track.

Closest comparisons would be contemporary soft rockers like John Mayer, Jack Johnson, and Train. If this is your thing, you can get the CD used for less than a buck at Amazon.com.

iPOD-worthy: 1, 4, 6, 9, 10

Crosby Loggins on MySpace. Official site.

I wasn’t too thrilled about the first two tracks, which include the current single, “Ignorance”, which I think is mediocre at best. But the CD’s midsection is very melodic and saves “Brand New Eyes” from going straight into my CD trading pile. “Playing God” has a great Jimmy Eat World vibe, while “Brick By Boring Brick” sounds like it could have been included on “Riot!”. “Turn It Off” is an excellent midtempo pop rocker while “The Only Exception” gives vocalist Haley Williams a chance to showcase her righteous chops with a decent power ballad. But she saves the best for last and delivers a chill-inducing performance on the album’s closer, “All I Wanted”.

I have mixed feelings about the production by Rob Cavallo, and often wonder if anyone with major label support does NOT have Chris Lord-Alge doing the mixing. It seems Cavallo was out to make Paramore sound like Shinedown, and while the volcano of sound is impressive, all too often it fails to let the CD breathe. Hayley Williams has a fantastic voice and I would have loved to hear it above the crashing guitars more often.

While a respectable successor with some terrific moments, “Brand New Eyes” doesn’t quite rise above “Riot!”, but I have a feeling we will be hearing plenty more from Paramore.

iPOD-worthy: 3, 4, 5, 6, 9, 11

Paramore on MySpace. Official site.