Thursday, 21 July 2011

Alex Lifeson: Rush In Rio Archive Interview



Interview with Alex Lifeson
17th October 2003


Rush burst out of Canada in the mid seventies recording a number of progressively sophisticated albums until the late nineties when Neil Peart suffered a devastating personal tragedy. His wife and daughter both died within a short space of time. It was to be five years before Peart re-joined Alex Lifeson and Geddy Lee to record another Rush album. Vapour Trails was released in 2002 and the band set out on a tour to promote the album. Demand for Rush was such that many extra dates had to be added. The tour finished in South America and the final date at the Maracana stadium in Rio de Janeiro was filmed and is due to be released on DVD as Rush in Rio. Jon Kirkman caught up with guitarist Alex Lifeson in Toronto to talk about the forthcoming DVD and CD and what lies ahead for Rush.

Jon Kirkman The DVD (Rush in Rio) was filmed in Rio de Janeiro at the end of the Vapour Trails tour. What was the motivation to go to Brazil because it was the band’s first trip to Brazil?

Alex Lifeson Right. We’ve long had offers to go to Rio to play at ‘Rock in Rio’ and we’ve always avoided it because we’re not really comfortable playing in that kind of pop festival format. We’re really about our own show and representing ourselves that way. Record sales don’t give you a true indication of your popularity in places like that. Our record sales are modest you know, nothing to go crazy about but this opportunity came up to do more than one show, to do a few shows. The promoters made it worth our while to come down because it’s a very expensive trip; to get all the gear down there, all our lighting you know, it’s heavy stuff.

JK I guess you would want to give the fans the full show and not skimp on anything?

AL Absolutely the full show, it has to be. So it’s quite a costly procedure to get everything down there and do these things. So anyway the opportunity came up. Now we had planned on shooting the DVD on one of the last American dates in upstate New York and we had some problems at the venue and decided to pull it on that last day. So really our only other choices were the shows in South America and we thought Rio would be the best choice. A lot of videos have been done in Rio, it’s a great audience and we could see from our ticket sales that it was going to be a really good enthusiastic crowd. We never expected then to be the way they were. They were just mind blowing.

JK I take it you were very surprised then at the reaction?

AL Oh yeah! We were completely surprised by it. We had 60,000 people in Sao Paolo and 44,000 in Rio. Those are the biggest audiences we have ever played to in a headline situation and the fact that in Rio we had all these Brazilians who don’t speak very much English sing every word to every song and even sing through the instrumentals, it just blew our minds. It’s such an amazing thing to watch.

JK If you look at the DVD this must have been pretty emotional for you guys on stage because in front of you you’ve got thousands of people who know every nuance and every word. They don’t particularly speak English that well and yet they know all the words to your songs so that must have been pretty emotional for you as well as the fans.

AL Well for me, well for all of us but for me the first set was difficult. We knew we were shooting this video; we were also recording. The gear got in late. We didn’t actually get on stage until ten thirty that night. There was no sound check, no line check, and no video line check. We went on dead cold. We got up on stage; we hadn’t even had a chance to see what the stage was like because we had forty cameras. There were cables everywhere; there were lights everywhere (laughs) that weren’t where they were before. So what was our very comfortable environment up there, suddenly was transformed into this very hectic and tense place so I had to really, really concentrate in the first set but there were moments where I just had a lump in my throat. Seeing the audience singing and hearing even through my in-ear monitors how loudly they were singing.

JK Do you think sometimes in a situation like that, which is a real seat of the pants job, that it gives the band the impetus to raise their game just that little bit more?

AL Sure, it always does. Everything was on the line. This was the last show of the tour, if it didn’t happen, if there was some big catastrophe or problem or if we just played poorly that would be it. Either we would live with that or not release it. So it put everything on the line. You know our crew, it was so unbelievable how hard they worked to get the show together, to get everything running and we raised our game as well I think. It was that much more intense on stage and I think it’s reflected in our playing.

JK I’m sure most Rush fans will know that Neil suffered a terrible personal tragedy a few years ago which took the band off the road and obviously Neil had to reconsider a lot of things in his life. But when a band comes back after an extended lay off you obviously want to promote the new album but how do you decide which of the older material you will perform? For instance there was a big response to Closer to the Heart on the DVD.

AL Yeah, Closer to the Heart was not included in the North American tour. We’ve played that I think every tour since 1977-1978 so it was a bit of a relief for us not to play it and slot some other things in that we hadn’t played before. In South America we’ve heard that it was a very popular song, one of our most popular songs down there so we thought we should really include it in the set and I think that was a smart thing for us to do. It’s always so difficult for us to get a set list together. I think we probably had about four and half hours of material that we whittled down to three hours (laughs) and Geddy and I sat down and went through all the albums and we listened to just about everything. Certainly there were songs that we would never plan to do live.

JK But surely that’s the case with every band. A band will record an album and certain tracks become popular and people want to hear them and then there are other tracks that will never get played live.

AL Yeah! That’s right.

JK Looking at the set list on this tour and DVD, it’s a very broad cross section of your career.

AL Yeah, we really tried to do that. We tried to include something from all the records. You know, Moving Pictures is a very popular record of ours and it’s popular with our whole fan base going back to the early fans and the more recent ones. Tom Sawyer, YYZ, Red Barchetta, those are songs that along with Limelight; we have to include them and that takes up a lot but Vapour Trails on this tour, we would have loved to have played the whole album. We were so inside that record and it was so important to us you know. The culmination of those four or five years of all the difficulties we had gone through.

JK I suppose it must have been like a release.

AL Oh absolutely it was.

JK Well the DVD and CD will be in the shops shortly and I have to ask this as the rumours are doing the rounds that this is the last thing Rush will do. So do you get fed up with hearing the rumours or do you just get on with things and not get caught up in that and do what you do?

AL Well that’s exactly right. (Laughs) We’ve always just done what we do. I think the way we feel right now; there’s certainly more music in us. There’s certainly more tours. We really enjoyed the last tour. It was the first time we had done a summer tour. So it was much brighter and happier and fun and I think we’d like to do that again. We’d like to play a summer tour and in fact we’re talking about possibly going back on the road next year without a new release and doing a thirtieth anniversary tour and this would also afford us the opportunity of coming to Britain and Europe.

JK I’ve been waiting to hear that for a few years.

AL Well it’s always been a very difficult thing because as we get older our touring schedule shrinks and of course we had the five years away and that compounded the problem and we haven’t been back in eleven years I think now and honestly we know that and we know we have an audience there and we have fans that would love to see us and we feel very guilty about not coming over. We had honest intentions, sincere intentions of coming over on the last tour. But once things started to get put together we weren’t sure how it was going to go for us; we’d been out of the loop for a while. There were a lot of questions. Neil had committed to a fifty, actually I think it was more like thirty eight dates in his original request and we ended up doing sixty seven shows so it just kept building and building and building and when we finally could squeeze in going overseas it was too late. The window of opportunity was gone. Hall availability had completely dried up until February of this year and this was in the summer we were looking at it. So this time around and I know Geddy of all of us is the most adamant that we come over to England and play. I don’t think he even wants to tour unless we come there and do a tour. This time we’re going to work it in so we absolutely will come because I think it would be great to bring this whole show. I know it would be different from the Vapour Trails tour but that would be the starting point for the new show. It would be great to bring that over and particularly for fans in Britain to see it.



JK Well I think I can speak for most Rush fans and say we’d love to see you.

AL Yeah and I think that’ll what we will do. We haven’t really confirmed that yet. Geddy’s away for a couple of weeks. He’s on a trip with his wife in Vietnam. So when he gets back from ‘Nam (laughs) we’ll sit down and finalise all this stuff but it really looks like we’re leaning that way and I’m glad of that. I think it would really be a lot of fun to go back out and do another tour especially a thirtieth anniversary of the band and stuff.

JK I think it’s probably just as important for the band as well as the fans that you celebrate and mark that because it is a very important landmark.

AL It is, I never thought we would be here thirty years ago. I was hoping for maybe five years at that point. If we could tour for five years and make four or five records, boy, what a great career that would have been.

JK I think a lot of bands think that and say, “Let’s see if we can stick around for five years and make a few records,” and before you know it you’re looking back on ten years.

AL Yeah, well when you’re a nineteen, twenty-year-old kid playing in bars six days a week, boy! Your vision beyond that isn’t that deep. (Laughs)

JK Well the Rush in Rio DVD is superb and is a must for any Rush fan or any real rock fan come to think of it and it’s great to hear that you guys are going to continue making more music and I can’t wait to see you in the UK. Thanks for talking to me today.

AL Thank you Jon.


© Jon Kirkman 2003

Thin Lizzy The Boys Are back On Tour. UK Dates for 2012 and Reissues!


Thin Lizzy The Boys Are Back On Tour…

UK Tour January/February 2012
Universal Music commit to full reissue programme 2011/2012







SCOTT GORHAM – GUITAR

BRIAN DOWNEY – DRUMS

DARREN WHARTON - KEYBOARDS

RICHARD FORTUS – GUITAR

MARCO MENDOZA – BASS GUITAR

RICKY WARWICK – LEAD VOCALS / GUITAR

Thin Lizzy is one of rock music’s most recognizable names. The fiery Dublin band exploded onto the scene with a fresh sound, look and attitude. Lead by the incomparable Phil Lynott, the band reached many peaks and influenced generations of musicians with classic tracks such as “Jailbreak”, “The Boys Are Back In Town”, “Still In Love With You”, “Cold Sweat”, “Emerald” and “Don’t Believe A Word”. Most rock historians would agree the pinnacle of their commercial success was in 1983, followed by the bands’ premature demise, as they played their last gig in September of 1984. Just two years later, the world was shocked when singer/bassist and founding member Phil Lynott passed away at the age of thirty six.

Twenty five years have passed, the world has changed, but the amazing body of work that is Thin Lizzy still retains all of its vibrancy and influence. A new lineup has formed to take Lizzy’s music to a whole new generation of music fans. Led by alumni Scott Gorham, Brian Downey and Darren Wharton (all of whom played in Thin Lizzy with Phil Lynott) the stellar lineup is completed by Guns N Roses Richard Fortus (guitar), Bassist Marco Mendoza (Whitesnake, Ted Nugent) and The Almighty’s Ricky Warwick on vocals and guitar. The band have already wow-ed fans and critics alike on a sold out UK tour in jan/Feb 2011 and a show stealing performance at Download festival 2011.
Alongside the new lineup, Universal Music has committed to a series of re-issue, deluxe and special releases of classic Thin Lizzy material. Deluxe expanded editions of the seminal albums “Bad Reputation”, “Black Rose” and “Chinatown” are released in July 2011. October 2012 will see the release of a lavish collection of BBC material –“At The BBC” – that will be available in three formats – a 7CD, 1 DVD boxset, a 2CD anthology and a 5 LP vinyl set.

Thin Lizzy have confirmed a 2012 UK tour. Full dates are as follows


Thursday 19th January 2012 Glasgow Barrowlands 0141 552 4601
Saturday 21st January 2012 Newcastle City Hall 0191 261 2606
Monday 23rd January 2012 Leicester De Montfort Hall 0116 233 3111
Tuesday 24th January 2012 York Barbican 0844 854 2757
Wednesday 25th January 2012 Cambridge Corn Exchange 0122 335 2757
Friday 27th January 2012 Wolverhampton Civic Hall 0870 320 7000
Saturday 28th January 2012 Manchester o2 Apollo 0844 477 7677
Sunday 29th January 2012 Sheffield City Hall 0114 278 9789
Tuesday 31st January 2012 Plymouth Pavilions 0845 146 1460
Wednesday 1st February 2012 Cardiff St. David’s Hall 0292 087 8444
Friday 3rd February 2012 Brighton Dome 0127 087 8444
Saturday 4th February 2012 London HMV Hammersmith Apollo 0843 221 0100

Doors will be at 6.30pm. On the UK dates Special Guests will be Clutch.
Tickets are priced £27.50 (£29.50 London) – subject to booking fee

Tickets available from
www.hmvtickets.com /

www.ticketmaster.co.uk

www.seetickets.com

24h ticketline 0843 221 0100 or via local box offices

VIP packages will be available through the bands website -

www.thinlizzyband.com

Def Leppard Announce Triple Vinyl Edition Of Their Live Album



First Ever Live Album

Def Leppard’s first ever live album, “Mirror Ball” (released on the 20th June 2011), has charted across Europe. In addition to this the band has announced that they are to release a triple disc vinyl edition of the record.
Def Leppard’s "Mirror Ball", recorded throughout the Sparkle Lounge Tour, features a mix of live Def Leppard classics, three brand new studio songs and a bonus DVD that contains energetic live performances and intimate backstage footage captured on the road. “Mirror Ball” is Def Leppard’s first ever live album and features rock classics such as “Animal”, “Pour Some Sugar On Me”, “Photograph”, “Nine Lives” and “Rock Of Ages”. The album also brings together three brand new studio tracks – “Undefeated”, “Kings Of the World” and “It’s All About Believing” taking their place with ease within this classic setlist. Def Leppard are now set to add a triple vinyl version of the album. Full Vinyl LP tracklisting is as follows

Disc 1 Side A
Rock! Rock! (Till You Drop)
Rocket
Animal
C'Mon C'Mon
Make Love Like A Man



Disc 1 Side B
Too Late For Love
Foolin'
Nine Lives
Love Bites



Disc 2 Side A
Rock On
Two Steps Behind
Bringin' On The Heartbreak
Switch 625

Disc 2 Side B
Hysteria
Armageddon It
Photograph
Pour Some Sugar On Me

Disc 3 Side A
Rock Of Ages
Let's Get Rocked
Action
Bad Actress

Disc 3 Side B
Undefeated (new studio track)
Kings Of The World (new studio track)
It's All About Believing (new studio track)

Also just released is Leppard's first coffee table book titled "Def Leppard – The Definitive Visual History”, with exclusive photos by legendary rock photographer Ross Halfin. The book was released in June 2011.
Def Leppard remain one of the world’s biggest and most successful live acts. Currently on tour in the USA, the band headlined UK’s Download festival in June 2011 to widespread fan and critical acclaim.

With more than 65 million albums sold worldwide and two prestigious Diamond Awards (Def Leppard are one of only five rock bands to have two consecutive 10 million plus selling albums in the U.S. The others are The Beatles, Led Zeppelin, Pink Floyd and Van Halen.) to their credit, Def Leppard - Joe Elliott (vocals), Phil Collen (guitar), Rick "Sav" Savage (bass), Vivian Campbell (guitar) and Rick Allen (drums)— continue to be one of the most important forces in rock music. Over the course of their career, the band has produced a series of classic groundbreaking albums that set the bar for generations of music fans and artists alike. The group’s spectacular live shows, filled with powerful melodic rock anthems, continue to sell out venues worldwide. Their epic live show and arsenal of hits have become synonymous with their name, leading Def Leppard to be heralded as an institution in both the music and touring industry.

www.defleppard.com

www.myspace.com/defleppard

Martin Barre Stage left Archive Interview 2003



Interview with Martin Barre:
9th September 2003

Martin Barre is the longest serving member of Jethro Tull other than Ian Anderson. Martin joined the band in late 1968 and remains an integral art of Jethro Tull to this day. Stage Left is Martin’s third album away from Jethro Tull and Martin discusses the album and possible solo tour dates, which will fit in around the busy Jethro Tull schedule for 2004.

Jon Kirkman Most people will probably know you from your day job as it were with Jethro Tull who are pretty busy so how long did it take you to put this album together?

Martin Barre It was about three months in the making. I write more or less all of the time but once I find a window of time to do a solo album then I do about eighty per cent of the writing within the period of making the album so I generally jot ideas down and refer back to them and work them into bits of music at the time of making the album.

JK This is your third solo album so the question is, does it get any easier three albums in to put together a solo album?

MB Well the putting together is great. It’s not easy but it’s fun. It’s really hard work and I love every second of it and I think I’ve learnt so much from the first two of where I went I went wrong really, well hopefully I’ve learned and I’ve tried to make it a bit more direct, bit more listenable and a bit more ear friendly if you like. My criticism of the first two is that they meandered a bit musically so I’ve tried to trim this one up and make it a more appealing album across the board and I’m not aiming at Tull fans God bless them, they keep me going but hopefully I’m looking at people beyond that.

JK I suppose it’s natural to expect that with you being a part of Jethro Tull for so long that an awful lot of Jethro Tull fans would be interested in a solo album from you but as an artist you would want to look beyond that.

MB Well you cater for the converts and as I said before if it wasn’t for them we really wouldn’t exist but you have to look beyond that because it’s an investment in the future. You’re looking for new fans as old ones get into the age bracket where they don’t want to go to concerts anymore and you’ve just got to expand. It’s not good just sitting and letting things carry on the way they always have done. Yeah! I’m looking for my own audience in many ways because I see it as a separate issue to Jethro Tull.

JK Presumably then it must be a completely different experience recording a solo album as opposed to recording a Jethro Tull album?

MB Oh absolutely, well I just do everything and love doing everything. I think the fact that you can really focus on the parts of the music that I choose to make it a lot more satisfying. A typical Jethro Tull record there’s a lot of work in the arranging and rehearsing and I think the recording is very pressured where you get a solo and you’ve got a couple of hours to get it and that’s it really. There’s no question of going back to it another day. You go into the studio in the morning to do guitar work on a couple of tracks and by lunch time they need to be finished because the next guy is waiting for you to be finished. So it’s different and I’m not slower doing my stuff but that pressure’s not there; it just makes it a lot more satisfying.

JK You say you enjoy doing all the work but do you have a favourite track on this album?

MB Well I think the second one’s my favourite. It’s called As Told By and it was just because I wrote it in a day and I wanted to do a bluesy piece of music. (Laughs) It didn’t really turn out very bluesy, it developed in other directions but I recorded it in a day and everything about it turned out the way I wanted it to. It’s one of those things that just got better. I’m not a glib self-satisfied person but I smile to myself and think, “Yeah! I’ve enjoyed doing that,” so I suppose I was a bit glib (Laughs)

JK I really like two tracks at the moment, A French Connection and also Winter Snowscape. I like the acoustic sound. It’s a very well recorded album particularly the acoustic sound.

MB Well I tend to lean towards the acoustic tracks as well. I didn’t intend it to be that way but I love playing acoustic instruments. I think probably because in the early days with Tull I didn’t really get to play hardly any acoustic at all because traditionally I was electric and all the acoustic parts Ian had written songs on the acoustic guitar so he did all those bits and it’s only in the last ten years - ish that I’ve really picked up the acoustic and written music on it and got to enjoy playing it more so I do lean that way and I find it more satisfying sound wise. They are very pure instruments. I still enjoy the electric. I don’t know what it is about the electric guitar but there’s so many people out there bashing away on them and I think a lot of it leaves me cold whereas acoustic playing…

JK I think it’s a more human sound isn’t it?

MB Yeah it is really. It’s timeless and my ears have grown tired of sheer volume and all that unsubtlety.

JK Let’s talk guitars for a minute. On the inner sleeve of the album there’s a list of all the songs and the guitars that are featured on the particular tracks. Having read your website I know that for you the Holy Grail of guitars was a Gibson ES 335 and you managed to get another one a while back. Was it everything you expected it to be?

MB Well I have to say it isn’t really my main instrument. It was the very first one I bought that was a proper guitar so it meant a lot to me and I’ve always loved the shape and the way they play. But I have problems volume wise. In the early days we played so loud so I didn’t use it very long and I very quickly switched over to a solid body and played Gibsons for about ten years. But I’ve gone through a lot of different guitars on stage. At the moment I play Fender Strats and in many ways they’re the guitars that I really think are great for me now because one guitar does everything. During the gigs I have one guitar for the whole show and it does everything and anything that can produce that breadth and depth of sound is really good. So all these other guitars are more hobby guitars. I don’t play them very often but I still enjoy them.

JK I can remember the early days of Tull, you played a Gibson Les Paul and then you played Hamers. As a guitarist I guess guitars come and go in and out of fashion for you.

MB Well I pick up the old Hamers and I wonder how I played them, they feel clumsy to me now. Then I went over to Tom Andersons and I played those for three or four years and now looking back on those, the necks are very thin and narrow. I don’t know, I like change; I don’t like to be stuck in a rut gear wise and I like to think that I’m in control of the gear and the gear’s not in control of me and I don’t want to be one of those people that if I break a guitar or an amp I’ve got to find the exact model again. I’d rather be flexible I’ve got my ears open for new things all the time.

JK The title of the album Stage Left presumably refers to the fact that you usually play stage left with Tull. If you go out live in a solo capacity, would you move centre stage?

MB Yeah! (Laughs) Well, I did and it was fine although I suppose stage left is a tradition from when the umbilical cord of guitar leads was the only way to go but now I’m wireless and I quite enjoy going to the other side of the stage as well (Laughs) yeah, it’s a tradition and I think if my gear wasn’t stage left… it’s the way I’ve always played with Tull and I suppose I could switch round in another musical environment but it’s just my side of the stage.

JK When you play solo gigs does it feel a little strange after so long with Tull?

MB Well it did the first time, mainly from the point of having to do all the talking. It’s a weird thing to have to do but I’ve done a lot of gigs with other bands so that doesn’t bother me. I’m quite happy playing on my own or with a bunch of other people. I mean I’ll even go and play with a bunch of people I’ve never met before and I love all that side of music but doing a solo tour, the hardest part was having to play the whole night and in between songs doing the chat. You don’t get a break or anything like ten seconds to have a drink of water. It’s a lot more work.

JK Do you have a little more respect for Ian then these days?

MB Well I did as soon as I tried to do that. It’s amazing the difference. I think I’ve got to appreciate how I get a little sort of break in between each song to re-tune and gather your thoughts and if you’ve made a mistake you put it out of your mind and analyse what you’ve done and think about what you’re about to do. It’s an important little break in the proceedings.

JK I know you’ve played sessions in the past, notably with Paul McCartney, but is there anyone you would like to work with that you haven’t already done so?

MB You know I’d like to work with everybody and anybody. I just love playing. I’ve got a studio here at home that’s commercial and very often if there’s a band in there I get to meet them and like them and like the music then I’ll sit in and play on a track and I just like being thrown in at the deep end and seeing what comes out. I think the predictability of a Jethro Tull gig has to be balanced by doing that sort of thing and I think Ian is the same. I think Ian likes to be thrown into something completely different. I think we need that because it’s obviously doing the same set every night. I mean these days it’s a fairly routine set as well. We don’t change it very much. I mean we might change twenty five per cent of it but the bulk of it has been the same for many, many years.

JK And yet as someone who goes to the gigs I don’t necessarily notice that.

MB Yeah! I suppose not. It changes enough for the audience but then Locomotive Breath and Aqualung do tend to have to be in there but it’s ok and it works well. There’s nothing wrong with routine and it doesn’t mean that it’s stale but I do enjoy being thrown into a different environment.

JK As you know Ian has a solo album out at the moment. Do you take an interest in each other’s solo releases?

MB Well Ian is very, very supportive and very enthusiastic about my albums and he’s been really positive and when I give a little note of thanks to them on the album cover it’s very important to me that they take an interest and I get a lot of support from them. I think vice versa we play a lot of Ian’s solo album material on stage so all these things are tending to run parallel and cross over, so the track you mentioned earlier, Winter Snowscape is on the Jethro Tull Christmas album. But it’s nice and the cross over is important and ultimately they’re all interchangeable.

JK It must benefit the band as well.

MB Well I think it does. I think mentally it’s good for me to do my own thing and it’s good for Ian to do his stuff. I think you come back refreshed from that.

JK There’s a Jethro Tull Christmas album on the way and Ian is touring in America and there will be Jethro Tull tour dates in the UK in the New Year. What do you have lined up between now and the Tull dates?

MB Well I have to say I’m fighting the record stores at the moment. I’m trying to get my record into the stores and it’s heart breaking when you go up to Birmingham for the day for instance and you go in Virgin or HMV and it’s not in there. It’s difficult you know and I’m fighting the profile of Jethro Tull is Ian Anderson and I’ve been fighting that for thirty five years and I always will and of course the answers to all the questions that I’m putting to the record label and shops is that Ian’s name is high profile and my name is low profile, why? I think there are a lot of reasons why. I think in the seventies and eighties the record labels EMI and Chrysalis completely focussed on Ian at the expense of having a band identity so I think we’ll never get over that and as I say it hurts badly but then it is getting in some shops and people are buying it. I get a lot of feed back emails. It’s just an uphill battle and as you said does it get any easier to do solo albums as you get on with them and the answer is it’s easier to do them but harder to sell them.

JK How about the Internet, you have your own website.

MB It’s still a tiny proportion of record sales. I don’t have a figure for this year but I know I think that last year you’re talking between five and ten per cent of over all record sales are Internet sales. It’s very important to me because most people like me are bought from Amazon (and thank God for that) and my website and the Jethro Tull website but you have to look beyond that at the moment because most punters go in the store and if it’s not in the racks they don’t want to wait a month to get a CD. They’ll buy someone else’s.

JK Do you have anything lined up for live work?

MB Well I was going to go and do a tour in America in Borders Stores unfortunately I’m sure you have heard the news about the price drop in America and because of that Borders are considering dropping all their artists’ appearances so that’s great news! You know, I can’t believe it. I might go and do a bit of P.R. Now there’s an English Jethro Tull tour that would be good for me to promote the album then and I think in April, I’ve put April back as a month to do dates in Europe and England.

JK So for fans of Martin Barre, there’s plenty to look forward to?

MB Well I will go on the road with a band. I think it’s a bit late for the end of this year so I’m looking at April which is the first opportunity I get with the Tull dates being in January, February and March but I have every intention of touring. I’ve only done this one tour of Germany after I did The Meeting album and it was so good and I’ve got live CDs of it and obviously it meant a lot to me but listening to the live CD I can sit back and think on the strength of that I can get a really good band and really good evening’s music out on the road.


Martin would go on to support Jethro Tull on their subsequent tour and the band played a selection of material from his solo albums including Stage Left which went down incredibly well with the audience. As of this date (July 2011)Martin is also still a member of Jethro Tull

© Jon Kirkman 2003.

Joe Bonamassa Archive Interview:Sloe Gin 2007



Interview with Joe Bonamassa
5th September 2007

Sloe Gin is the seventh album from Blues rock guitarist Joe Bonamassa. Over the last seven years Joe has built up an enviable reputation as a live performer and his albums have also sold in increasingly higher numbers. Sloe Gin is produced by Kevin Shirley who has in the past worked with the likes of Aerosmith, The Black Crowes and Led Zeppelin. While the album breaks new ground for Joe it still retains that Joe Bonnamassa feel we have grown to know and love over the previous albums and seven years worth of live work. Joe spoke to Jon Kirkman whilst in the middle of an American tour in Florida. Joe talked about the new album and also his love for Progressive rock and his plans for his English tour early in 2008.

He started off by talking excitedly about how the album Sloe Gin is his best performing album so far hitting the American top fifty within just a few weeks of release

Jon Kirkman Your new album Sloe Gin has just been released and gone straight into the album charts. This must please you a great deal.

Joe Bonamassa Oh yeah, I am tremendously shocked, we debuted on the American album charts; I mean it was like the biggest debut we had ever had so I am not used to all this attention for an album (laughs). But really I am just glad that people enjoy it you know.

JK What was it like working with Kevin Shirley? He does after all have a great track record having worked with people like Led Zeppelin, Black Crowes, Aerosmith and Joe Satriani.

JB Oh yeah, Kevin is great, he takes the music further than I would even if I had had a million years to work on it. His outlook on things comes from such a very worldly place that he is able to take the music and do something really cool with it without making it sound as though it is over produced. It is like a fine line but he knows exactly how to push the boundaries without going over the edge.

JK Having heard most of your previous albums I think Sloe Gin has the edge, would you put that down to the production because at the end of the day it is still a Joe Bonamassa record. Kevin Shirley hasn’t changed your sound particularly.

JB No, you’re right; it just has a different quality to it. It is a bit edgier and is a riskier album. I think the albums we did before were a little safer. The fact that we have songs on this album that don’t necessarily have a guitar solo is in my little world a big risk. So I am really happy that people enjoy the album so much. There are some people of course who say, “Oh you don’t play as much guitar any more, you are getting old and slowing up” (laughs) I mean, do I have to be the two verse and twenty minute guitar solos kind of guy – is this my fate? (Laughs).

JK Well let’s face it there is always going to be elements of any fan base who will find cause to complain. This is your seventh album and perhaps for people who were around when your first album came out, come of these fans may resent your getting successful because you are not their little secret any more.

JB Well yeah that is the kind of thing I am talking about: I have always been this kind of underground cult hero to some people. The strange thing is they help you out and they join your street team and help promote you and they go beyond the call of duty. They are just amazing fans, but them some of these fans prefer to see me in a club rather than a 2000-seat theatre.

JK I don’t see the problem with what you are doing and how your career has built because surely the aim is to have as many people as possible into what you do? Perhaps at some point you could still do the clubs, let’s face it the Rolling Stones are a good example of this. The biggest band in the world playing stadiums and every now and again they will play a few club dates.

JB Yeah, they like to break it up. They actually played a place in New Haven we like to play not so long ago which is a 500-seat club. We do that as well, mostly on this tour it has been theatres but we have a couple of gigs coming up in a 240-seat room and it is cool.

JK How much of this album has made it into the live set?

JB About five songs, which is a lot because we only do about 13 or 14 songs in a live set?

JK There is a question I have to ask you about your live set. That is, why do you play music from Yes in your set? I can understand some of the other covers say from Jethro Tull but Yes seem a world away from that kind of thing.

JB Well, for me it is kind of well; I do the Yes stuff because I am a big fan of progressive rock; I mean we actually do Genesis stuff now. We have kind of retired the Yes stuff. We have been doing Los Endos in the live set. But really I am just a huge prog rock fan so I try to find little snippets if prog that I can throw in that kind of make sense. I know some of it is a little bit out there (Laughs) but it is a bit like I know there are fans out there like my dad who are blues fans but still went out to see bands like Yes and Genesis and went to see the Allman Brothers and Deep Purple and bands like that, really just music fans. I think they all get it eventually.

JK So when you and the band come to the UK in early 2008 we can perhaps expect Los Endos then?

JB (laughs) Yes but we might be doing Selling England By The Pound as well (Laughs).

JK Well I will look forward to that but the thing about your covers is that you don’t always do them as straight covers you always turn them inside out and make them your own, which makes for a better tribute I think.

JB Well thanks. That is the whole point of doing a cover. I mean of guys doing verbatim covers but that doesn’t make any sense to me. You are not making the song your own and you are not beating the original version. If you can’t beat the original version at least try to make it your own and do something interesting with it.

JK You are currently on the road in America and are due to hit the UK in early 2008. What are the plans for the live show? Will we get in the UK pretty much the same as the American fans are getting or will you mix it up a bit?

JB We have got some shows to play in America them we have six and half weeks off which is a long break for us. In those six and a half weeks we are going to try to put together a new show. Then we kick off again in 2008 in England. So the English audiences will be the first to hear the new show. Hopefully it will be good.

JK Well the album is doing great both sides of the Atlantic. After seven years you really seem on your way and it is great to see the way your career has developed.

JB The last three or four years have been very busy for me.

JK We look forward to catching you in 2008 in the UK. It is great that the album is doing well. I am sure there are a whole lot more Joe Bonamassa fans that will be coming to the gigs in the New Year.

JB Thanks Jon. See you and the rest of the English fans in early 2008.


Joe went on to bigger and better things with the album Sloe Gin and also further albums including The Ballad of John Henry, Black Rock and Dust Bowl. He has also formed a band, Black Country Communion which features Joe alongside Glenn Hughes, Jason Bonham and Derek Sherinian. The band have released two albums to date Black Country and 2

© Jon Kirkman 2007 and 2011


INTERVIEW WITH IAN McLAGAN:
6 NOVEMBER 2000

Ian McLagan and the Bump Band were on tour in the UK to promote the album Best of British. The following interview took place just after the gig at The Neptune Theatre, Liverpool on 6 November 2000.Jon Kirkman:

Hi Mac, how’re you doing?

Ian McLagan: I’m doing very well thanks. It’s lovely to see ya and nice to be here in Liverpool.

JK: We were talking earlier and I think I said the last time I saw you was with The Faces. Is this the first time you’ve been back since the early seventies?

IM: Oh no, no. I’ve played here with The Everly Brothers in ’85 and let me think, Billy Bragg a number of times at The Royal Court. In fact we’re coming back here in December. Who else, let me think….well probably nobody else. But you know you can’t keep a good man down, you can’t keep me away from you.

JK: The gig tonight was great.

IM: Thank you.

JK: It was a nice mixture of new stuff and obviously some of the older favourites from The Faces and the Small Faces. How do you actually choose which Faces songs and Small Faces songs to do, because you are spoilt for choice really, aren’t you?

IM: Well, no. It’s simple; if I wrote or co-wrote one of them, like You’re So Rude or Cindy then obviously I want to do it because it means something more to me. I would love to do Stay With Me but I can’t sing that high. And I do All Or Nothing most nights but that’s not easy to sing either. I kind of have a little prayer to Steve, “Help me out Steve, for Christ’s sake.”

JK: You’ll have to get the pliers out!

IM: (Laughs) Yeah! Thanks! But see another one I’d like to do is Tin Soldier, cos that’s one of my favourite songs but I tried and there’s just so much going on vocally and keyboard-wise, that it’s not possible. Actually we’ve just started doing Get Yourself Together, which I think sounds great. Paul Weller said, “Do you ever do Get Yourself Together?” and I said, “I don’t even remember it, mate,” and he couldn’t’ believe it. But you know back then you’d cut ten songs and one would be the single and you’d never play the others ever again you know. And then you’d be onto the next ten songs. So I finally thought, ‘Well, I must give it a listen,’ and when I heard it I thought, ‘Yeah, we could twist that around and make it ours,’ which I think we do.

JK: We’re going to get a little contentious here and you can answer it if you want to, but the Small Faces were, if we’re honest here, like a lot of bands, taken to the cleaners, weren’t they?

IM: We attracted thieves like… flies on shit. How nice of me to be so blunt.

JK: Blunt but to the point.

IM: Well, the fact is we got conned out of lot of money, but it didn’t mean we didn’t’ have any fun and we didn’t stop being creative all through that. It was something that was out of our control and we didn’t know anything about lawyers and accountants and our management and record companies were quite happy to keep it that way. I liken the music business to being filthy. It’s a filthy business, it really is, and I hope these boy bands, mind you, none of them have got any talent, but I just hope they’re making some money.


JK: I’m sure they are

IM: They’re not even writing the songs or playing on the records though.

JK: The thing with The Small Faces was that it wasn’t just once, it was twice. First of all you were with Decca and you weren’t happy with what went on there. They were sticking out records you weren’t happy with and then you went to immediate and I suppose The Small Faces’ collapse coincided with the collapse of Immediate, didn’t it?

IM: Yeah. Immediate – great idea for the company. They wanted us to record and they were happy to stir our creative juices and we worked with Billy Nicholls, we worked with PP Arnold and things were kind of interesting there until we realised we weren’t making any money. They were not giving us our money, they were not paying us. But anyway we get paid for some of that stuff now, so Ronnie and Steve scream at me from their graves, “Sort it out Mac and Kenney”, and we do what we can, for the widows and for ourselves.

JK: It must still be incredibly frustrating though, if you go into a CD shop or a record shop and see all these albums and go, “Hang on, I haven’t been paid for this!”

IM: I buy them all. I go into these places and if it’s a bootleg – I don’t mind people buying bootlegs - but if it’s a record company bootleg, in other words if it’s a company that should be paying us, I throw it in some other area so no one’s going to buy it. You’ve got to do your little bit you know (Laughs). That’s my way of giving (laughs).

JK: When The Small Faces folded, Steve Marriott left; he went on and formed Humble Pie. At one point there was the chance that you might have joined Humble Pie, didn’t Peter Frampton ask you?

IM: Yeah. And I went down there and had a little play, and didn’t like it. Nah, it wasn’t for me (laughs). That was definitely a good move not to be part of Humble Pie.

JK: Well, obviously it was, because out of the split of The Small Faces, Humble Pie were very successful but The Faces were too. But initially it wasn’t the case. I think I read in one of the books that record companies saw The Faces as being the leftovers of two very successful bands, which sounds a bit unfair.

IM: No no, they didn’t think that at all. They didn’t want us to change the name from Small Faces, they saw the potential in the band very much. They paid us a lot of money to sign, but they demanded that we keep the name: The Small Faces and we fought that. But they said in America people only know The Small Faces for Itchycoo Park. So we said alright we’ll go along with it. And we went along with it but we got them to change the name so they took the Small off for the English release. Same album though. That’s why people come up to me and say Hey, Small Faces toured the States, you said they didn’t Well they didn’t. It was The Faces, you know what I mean.

JK: The Faces as you said, in America always seemed to do very well. You did very well in England after a while but a lot of people say The Faces hit their stride with the third album, A Nod’s As Good As A Wink. I actually disagree because I think the first album was pretty good as well.

IM: I think they were all pretty good but the third and fourth albums were the best. They were the reasons, that’s what we were building up to you know. Definitely Nod’s As Good As A Wink, and Ooh-La-La were the albums we were meant to make but the others were OK. I’m not so keen on Long Player - there’s some good stuff on it but I’m not so keen on some of it.

JK: I remember Ooh-La-La and there was a bit of a stink in the music press because Rod came out and said he didn’t like it. But I guess that happens with bands, doesn’t it?

IM: No it doesn’t happen to bands, it happens to people who don’t know what the hell is going on. The joke is that album went straight to number one, right. Twenty-five years later he cut the track Ooh-La-La. He phoned me up and said “’Ere Mac, I’ve cut Ooh-La-La.” I said, “’Ave ya? You’re twenty five years too bleep late! Ronnie Lane don’t get a penny of that now,” I said, “He’s dead, you idiot!” And that was our little conversation about that. He hated Ooh-La-La – you know why? Cos it was great. He looks back now and sees the magic in it. There’s some great songs on there, “Glad And Sorry”…. you know, Oh man it was a great album.

JK: About eighteen months or two years after that The Faces split. Was it really that inevitable?

IM: Yeah, I mean Ronnie Wood was being courted to join The Stones. Rod felt he was upstaged. He hated the fact that Woody was going to join The Stones, so he said the band quit, the band broke up. We didn’t break up, Rod left and then of course, what did Woody do? He joined The Stones.

JK: Do you think one of the reasons why The Faces haven’t got back together is because Rod’s scared of having to go back into that band mentality after being a big solo artists for so long?

IM: Rod can’t handle it mate. He can’t rock ‘n’ roll (laughs). I’ll tell you what; Rod wishes. But see his management are just protecting him from a situation where they’ll have to take only a fifth of the money. They don’t want that.

JK: But he keeps talking about it – “Oh, we’ve got to get The Faces back together,” and to put it bluntly, he does sod all about it.

IM: You know why he talks about it? Because it creates an interest in the fans who wish he would, you know. I know loads of people who would cross the street to see The Faces, but would never bother to see Rod, but would cross the street to see The Faces together and I know loads of people who don’t like The Stones or wouldn’t bother to see Woody but would like to see Woody play with Rod and me.

JK: I’ve got to be honest, I’m in the former camp there, I wouldn’t’ cross the road to see Rod these days, but for The Faces I would probably travel half way round the world.

IM; Me too! That’s my feeling (laughs). No that’s right, that’s right.

JK: It’s great to have you back in Liverpool, but you’re going to be back again soon, aren’t you, with Billy Bragg.

IM: December the sixteenth. That’s a nice little plug.

JK: One final thing I’ve got to ask you, I believe there are some Faces projects on the go, in terms of CD’s? There’s going to be a boxed set, isn’t there?

IM: Well, me and Ronnie are working separately and together on what will probably be a three CD boxed set of The Faces that Rhino are doing. They did such a good job with the last thing that I worked on with them (Good boys while they’re asleep). It’ll be every single - every A-side, every B-side, album track, everything that was ever recorded that we released. Plus some live stuff that will **** all over the live album that came out.

JK: It’s got to be better than Overtures and Beginners.

IM: You know what I found when I was writing the book. All the Rage by the way, it’s in your local stores. When I was writing the book I found an invite to a party the same night as we played the Palladium. This party where Bob Dylan came. I wrote about it in the book. Anyway, we played the gig then we went to a party ‘til two, maybe two thirty in the morning. Then we went into the studio and mixed tracks, I mean, how sane can we have been?

JK: I was just disappointed, having seen The Faces live, it was like – I’ll be honest with you – I’ve got better bootlegs.

IM: So have I! I’ve got the same bootlegs as you have. Also Rhino are keen to put some bootlegs out too.

JK: Rhino Handmade – I’ve seen stuff like that.

IM: They’ll be pristine copies though.

JK: Well, as long as the B-side to Cindy comes out, Skewif Mend The Fuse. Great track.

IM: That’s on it, definitely. All those instrumentals. I mean, we actually considered putting out an album of instrumentals while Rod was in the band, but funnily enough, he didn’t think it was a good idea. But I’ve got some great vocal tracks of Rod so we’ll get that stuff on there. That’s a project we’re working on whenever I get a minute. Rhino send me CD’s and I go through them. There’s a version of Had Me A Real Good Time that you’re going to go crazy for.

JK: I can’t wait.

IM: There’s a rap from Ronnie Lane, you wait ‘til you hear that, it’s very funny.

JK: Well, as I’ve said, it’s great to have you back in Liverpool, we’ll see you December the sixteenth with Billy Bragg at the Royal Court, seats available at the theatre even as we speak!

IM: Yeah. I hope they shut those doors, it’s very cold on stage there, did you know that?

JK: I do actually, I’ve been on that stage, and it is very cold.

IM: It’s moider! Well, I’ll see you then.

JK: You definitely will Mac, it’s been a great pleasure.

IM: One last message, I’m, really looking forward to having a drink, so I’ll have one now.

JK: You have one on me, mate.

IM: OK (laughs), all the best.

And with that, Ian went back to the hotel for a well-earned drink. Never let it be said that I come between a man and his liquid refreshment.

The Boxed set that Ian was talking about was eventually titled Five Guys Walk Into A bar and was a four disc set and was released in July 2004. More recently the faces (Ian McLagan, Kenney Jones, Ronnie Wood) re formed not with Rod Stewart however but former Simply Red vocalist Mick Hucknall and former Sex Pistol Glen Matlock filling the bassist slot formerly occupied by Ronnie lane




© Jon Kirkman May 2000 and 2011

Tony Visconti Archive Interview: Born To Booge





Interview With Tony Visconti
Born To Boogie

Over thirty years on from its original theatrical release Born To Boogie has been readied for release on DVD. This DVD release however is no ordinary archive release. Born To Boogie was filmed at the height of Marc Bolan's success in the UK and perfectly captures what the press had dubbed 'T.Rextasy'.

The film is based around a concert that took place at the Then Wembley Empire Pool in London and also features some fantasy sequences including a jam session that also features Ringo Starr and Elton John. Ringo Starr directed the film for the Beatles film company Apple Films and at the time Ringo dubbed Marc the logical successor to the Beatles crown.
Much work has gone into the DVD not least the sound of the DVD which has been overseen by Tony Visconti who as well as being the producer for most of Marc's career also recorded the audio for the concert and studio sequences of the film. Tony oversaw the new mix and restoration of the audio soundtrack and also produced a new 5.1 surround mix fro this DVD.

Jon Kirkman was lucky enough to speak with Tony Visconti recently about the restoration of the film and also how he felt listening to the soundtrack over thirty years later



Jon Kirkman

What was it like listening back to the recordings made for Born To Boogie after over thirty years was it a pleasant experience or perhaps daunting

Tony Visconti

It was mostly a pleasant experience. Having remixed three David Bowie live albums in the past two years has given me great insight for cleaning up the old master tapes and getting maximum impact with modern technology. So I was extremely eager to have a second chance at mixing this film. But I wasn’t expecting the emotional impact it had on me. The mixes were sounding so alive and matched with the videos we were mixing to, I often forgot that Marc was no longer with us, and then I remembered and it felt like a bummer. The surround sound versions really made me feel like this filmed concert was last week. At times it felt like Marc was in the room. But there were two others in that film who are no longer with us either, Steve Currie and Mickey Finn. We used to be so tight in the studio, joking around and working like dogs to get it right. So, I mixed this film with mixed emotions.

JK
What were the technical difficulties with bringing the audio up to scratch using modern technology? Was it an easy job?

TV
The most tedious part was listening to each instrument and vocal, track by track, and cleaning them up. What I mean by that is sometimes the level would jump for no reason at all (maybe I got the jitters when I recorded it over 30 years ago in the mobile) or maybe Marc didn’t like his guitar level and he would just whack it up very quickly. These things were very difficult to control 30 years ago, but not today. When Marc was not singing there was a load of audio junk on his vocal tracks. We carefully drew volume lines to bring that track down, not completely out, when he wasn’t singing. Then there were hums, crackles, feedback etc., some were left in for the rock and roll quotient, but very annoying ones were removed. When all this was done, then I settled down to mix the songs in a very traditional manner. Full credit is due to my Pro Tools man, Mario McNulty, for doing the very hard job of meticulously cleaning up the audio.

One blessing was the two mics I placed over the audience during the concert. By putting them in the rear speakers in surround you get the feel and size of the auditorium. The realism is staggering.

JK
What are your main memories of the filming of the concert sequences for Born To Boogie?

TV
It was chaotic. The cameras were getting all the preferential treatment and I was fighting to get sound balances. In the first concert, which was more or less a rehearsal but featured in the bonus CD, there was buzz on the bass amp and the roadies pulled all of my cables out so I was left without a bass for a couple of minutes. I screamed bloody murder that it wasn’t to happen again in the second concert. There was poor security backstage. Only the Beatles roadie, Mal Evans, was supposed to get the band from the stage door to the limos. He was petrified, not having seen girls this vicious in the Beatles days. They wanted to tear Marc’s clothes off him and pull his hair out. I helped Mal by putting my arms around him and Marc and we shuffled Marc to the waiting vehicle. We were punched, kicked and pulled, and Marc did lose some hair, but we got him out of there.

JK
Likewise with the studio sessions such as the jam with Elton and Ringo what are your overriding memories of those sessions?

TV
For some reason I wasn’t at the recording. I can’t remember why, but I was probably producing another record. A lot of these scenes were decided to be shot the day before. I did, however, do the overdubs, even sang on the backing vocals for that session and I mixed it for the film. Even the Mad Hatters Tea Party scene was decided to be shot the next day and I had to travel 200 miles from South Wales to be in that scene. I’m the conductor of the string quartet and I hand Marc his guitar before he sits down to play.

JK
At the time Marc Bolan was literally the biggest star in the country. What was Marc like to work with during those hectic years? He seemed to be incredibly prolific and creative.

TV
He was very prolific. I remember for Tanx we recorded 17 songs in three days at a studio in France. All the overdubs were done too. Back in London I added the strings and other session men and mixed them.

At the peak of T.Rextasy Marc was all puffed out like a peacock, strutting his stuff and more than a little arrogant. Sometimes it was difficult to turn the public persona off in the studio and we were all victims of his sharp insults. But in the studio he was also that superstar that he was on stage and he’d jump and perform as if in front of a huge audience. That spirit was caught on tape, affecting the other members of the band.

JK
What were the reasons for your split with Marc a few years later and did you ever think you would work with him again.

TV
It was quite a long relationship for a producer and artist. But I could no longer have an influence on him. It was clearly time to move to the next creative level, write and record a kind of “Tommy” which we had made demos of. This was The Children Of Rarn epic. But he kept delaying it saying ‘one more album for the kids’ when the press and everyone else was saying ‘this formula is old.’ Marc was losing his audience but he wouldn’t admit it. I really tried to change things be he was still in that instant hit single mind set.

We met up a few years later and there were signs that we could get back together again. After the last TV show, he and David Bowie went to my studio, where we made Scary Monsters. (I was in another country working.) Marc said to my engineer, “I’d love to work here.”

JK
Here we are over thirty years on from Born To Boogie and Marc Bolan is still incredibly popular why do you think that is

TV
Marc has become a classic icon now, like Judy Garland, Elvis and John Lennon. He was sharper than anyone in his time and he knew it. He turned heads and cause a minor revolution in British pop. I’ve witnessed it, I was a part of it, but I can’t tell you what makes an icon of an artist. There seems to be a little to a lot of T.Rex in most groups since.

JK
I realise this is perhaps a strange question but had Marc not died in 1977 what do you think he would be doing now and if it was writing and recording could you see yourself working with him

TV
Maybe we would be working. After a long off period I’m back with David Bowie again. I really can’t say if Marc would’ve progressed or would get stale. He was very smart, so maybe he would’ve spent time reinventing himself, but his life was cut short before that happened. He certainly had a lot of great songs left in him, and he could’ve written and directed films, that were in him too. He and Ringo were equal partners in scripting Born To Boogie.

JK
Looking and listening to the finished film and forthcoming soundtrack CD what are your final thoughts on the way the film and CD have turned out

TV
Oh, far better than I ever thought. Full marks go to Mark Allen, Mark Roberts and Stewart Read, the team that found all the right parts, film and audio, and re-editing to make this possible. The DVD is vibrant and a quantum leap from the previously available VHS version.

JK
Finally what was the experience like re visiting the past like this? Was it a good experience or perhaps sad? And was there any question that it would be you that worked on these recordings.

TV
This was a great experience. I heard it through the T.Rex grapevine that this was going to happen and when I opened an e-mail from Mark Roberts asking me if I’d like to be a part of it I was totally elated. I didn’t have to ask, I was invited. I can’t tell you how pleasurable it was to work with the Sanctuary team on this project.


JK
Many Thanks for talking to us at Rockahead today Tony

TV
My Pleasure, Jon.

Born To Boogie is released on DVD and CD on the 16th Of May.


Tony Visconti's Official Site
www.tonyvisconti.com
© Jon Kirkman 2005
Photo of Tony Visconti © Lori Baily