A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

1991 Goodies Lost In The Noise

1991 was a monumental year for music. Shifts in musical tastes aside, career defining albums by Nirvana with “Nevermind”, Metallica with their self-titled “Black” album and Pearl Jam with “Ten” came out.

Guns N Roses released “Use Your Illusion 1 and 2”, the long-awaited follow-up to “Appetite For Destruction” and Ozzy Osbourne resurrected his solo career with “No More Tears”.

U2 had “Achtung Baby”, Van Halen went back to heavy guitars with “For Unlawful Carnal Knowledge” and Red Hot Chilli Peppers came out with “Blood Sugar Sex Magik”.

Competing against these mega selling albums with massive marketing budgets to scorch the Earth, was the rest of the music industry. And while I am on my European holiday, I have been listening to hard rock music released in 1991. And man, there are some goodies in the list.

Rock and Roll Nights – Roxus
A band like Roxus from Australia, never had a chance to break through on the international melodic rock scene in 1991. A lot of hard work went into building the band, from standalone singles to an EP to the debut album; the whole journey took 4 plus years.

And they started getting some traction in 1991 but they came up against some stiff opposition for the attention of listeners. With all of that against them, Roxus did chart well in Australia.

But they had to compete against the changing of the guard. When U.S record labels started signing up Seattle acts, it was no surprise when the Aussie labels started to sign up Australian bands that suddenly started to sound like Seattle bands. To my amazement, hard rock, thrash metal and glam rock bands on the scene down tuned, stop playing solos, changed their look and their sound. All in the quest for a recording contract.

A chance is all that we’ve got
Without a moment to choose
We’ve got to take it
Young hearts in the night
With nothing to lose
We can make it

It’s nothing original but the message was the same throughout the decade. Chances are far and few, so when opportunity presents itself, we’ve got to take the chance. Like Tommy and Gina. Like the small town kid in Detroit.

I’m glad to be around in Rock ‘n’ Roll nights
You and me

It was a moment in time, a period of almost 10 years when the 80’s version of Rock and Roll became a commercial force.

Stand Back – Roxus

The synth intro is addictive and once the guitars kick in from Dragan Stanic, it’s all systems go. “Stand Back” came out as a standalone single in July 1989 and it was also on their debut album “Nightstreet”, which came out in September 1991.

Taking a chance on a night flight
Knowing just where we ought to be

A lot of times in my youth I knew where I should be, but I couldn’t take that chance to get there. That midnight train out of my hometown was missed. That night flight never happened.

I’ve been on this road now for so long
It’s making me harder now

Living and getting older either hardens you or breaks you.

Stand back, human racing
There’s no change, we’re all facing
Stand back, time is racing now

And that is all we seem to do. Just standing back and watching the world go by.

Pretty Maids – Savage Heart

It’s from the “Jump the Gun” album released in 1990. Actually in the U.S it was released as “Lethal Heroes”. Produced by Roger Glover from Deep Purple, it was told that the album was one of the most expensive albums in Danish history. And after it failed commercially, three fifths of the band would leave.

But it wasn’t the music which let the band down. It was the band name. Many times I avoided purchasing this album because of the band name. One time it was down to Bonfire and Pretty Maids and my money went on Bonfire.

The song reminds me of “Is This Love” from Whitesnake.

Whenever we lose someone
Whenever we say goodbye
And after the fire’s gone
When every flame has died
There will beat a savage heart

After so many loses and failures, a savage heart is all that is left.

Another soldier falls
Dies for God and country
When there’s no time for talking
It’s time for the guns

A symptom of our society is the use of guns. If talking cannot prevent it, our leaders believe violence and force is the next solution.


And that massive ending, with the gospel backing vocals is excellent. 

AC/DC – The Razors Edge

The title track written by Malcolm and Angus Young got lost behind the behemoth known as “Thunderstruck”. It’s a killer track. One of their best.

How good is that open string riff that drives the song? It’s a simple A to B to C on the G-string progression with the open strings of B and E just droning along. Angus pulls of this lick while Malcolm just thunders along with the E5 power chord.

There’s fighting on the left
And marching on the right
Don’t look up in the sky
You’re gonna die of fright
Here comes the razors edge

AC/DC have never been known to be a political/social conscience band, however if you look at a lot of the lyrics that Bon Scott wrote in the 70’s, you will see a certain social awareness. You will notice that quiet a few of the songs mentioned in this list talk about war.

Harem Scarem – Hard To Love and Slowly Slipping Away

Both tracks are from the self-titled debut album, the music in both songs rocks.

It wasn’t until well into the 2000’s that I got a hold of some music from Harem Scarem. While the first album is very AOR, the second album “Mood Swings” packs some serious metal overtones and some wicked guitar playing.

The band name doesn’t do the music and the songs justice. Like Pretty Maids I bypassed this album because of the band name.

Badlands – The Last Time

Jake E Lee revs it up again for the follow-up “Voodoo Highway” album to the self-titled debut. And what an opening track, where Lee weaves blues based riffs with his metal pedigree to come up with this heavy boogie riff to kick off the track. Rooted in the key of A minor, the track rocks from the outset.

Lyrically the song is about a broken heart (nothing really earth shattering) however the vocal performance by Ray Gillen is also top-notch. Not long after, the band splintered and “The Last Time” is forgotten in the history of times. The song was resurrected by the Red Dragon Cartel, however Lee is not having much luck with his singers.

Stryper – All For One

From the commercially disappointing “Against The Law” that was released on Enigma Records, a label going thru merger talks.

But there is no denying the song, written by Michael Sweet and produced by Tom Werman.

United we will stand up tall
United we will never fall
If it’s all for one and one for all

The chorus is huge and the message is strong.

United we will never fall. Even Dee Snider mentioned recently that metal heads need to unite again, in the same way we did between the years of 1982 to 1987. We made hard rock and heavy metal a commercial force. After that we fragmented into so many different metal genres, it was ridiculous.

Ratt – Shame, Shame, Shame

The opening riff from Warren DeMartini is speed boogie metal. It’s full on Ratt and Roll and DeMartini even drops the E string down to D, something he did to great effect in “Lay It Down”.

But terrible lyrics again let the song down and the overall power of the music is lost. But this song is all about the music to me and it gets constant spins because of it.

Asphalt Ballet – Soul Survive

It’s written by guitarist Danny Clarke, from their 1991 debut album released on Virgin Records who at the time had no interest in marketing bands as they were in negotiation talks with EMI. That merger happened in June 1992 and a lot of bands lost their deals because of it.

I’ve seen the system fall apart from the rules
And all our Presidents lie
I’ve seen the needle and the damage it’s done
The wreckage left behind

These are social conscience lyrics that a lot of rock bands just didn’t do at the turn of the century. Or if they did do songs like this, the record label wouldn’t release them as singles. How good is that verse riff?

My soul survives
Forever doing time on a dead-end street
My soul survives
Blood like wine running down to my feet, yeah-yeah, yeah!

And for the majority of us, that is how we live our days, doing time in the same old place with the same old faces.

Skid Row – Quicksand Jesus

Written by Rachel Bolan and Dave Sabo, it’s from the gigantic “Slave To The Grind” album, but for some reason this song went under the radar but it’s a masterpiece.

Quicksand Jesus I need you
Quicksand Jesus I believe you
Quicksand I’m so far away

The song is about trying not to lose faith in God with all the crap that goes on in the world. The music is brilliant and Sebastian’s vocals from the “Where do we go” section are sublime.

Richie Sambora – Stranger In This Town

Written by Richie Sambora and his Bon Jovi cohort Dave Bryan, you cannot escape this addictive track that is heavily influenced by “With A Little Help From My Friends”.

Everybody loves a winner
Till the winners lose
And then it’s front page news
Nobody loves a loser
When you’re down and out
You know there ain’t no doubt

This is Richie, unsure of his future. He just finished two gruelling album and world tour cycles with Bon Jovi. He was a winner. Then, the uncertainty came as the band went on a break. He had no record deal, no management, nothing.

“Song And Emotion” from Tesla has a similar message. Where are all the “friends” when you are down and out? Dee Snider’s bio tells a similar story. When he had nothing, he had no one except his family.

Tesla – Song and Emotion
Tesla – Freedom Slaves
Tesla – Had Enough

Even though the “Psychotic Supper” album was eventually certified platinum, on release it didn’t have a chance to break through to the masses. Within 30 days of its release it had to contend with “Ten” from Pearl Jam, “Nevermind” from Nirvana, “Use Your Illusion 1 and 2” from Guns N Roses and the self-titled “Black” album from Metallica.

Tesla is a legendary band in my book. Each album has songs that have remained with me to this day. “Psychotic Supper” gave me these three beauties. All of them are so different, yet so infectious.

“Song and Emotion” is killer. It’s written by Frank Hannon, Jeff Keith, Michael Barbiero (producer) and Tom Skeoch.

All alone on his way to the top
Somehow, somewhere, something was lost
Through it all he knew his only friend was
Song and emotion
Know he’s got to his dying day

Read all of the bios of the artists you like and there is a common theme of loneliness. They turn to drugs, booze and other vices to cope with the loneliness especially when they are on the road for long periods of time.

Where are they now?
Where are those people who promised him his dreams?
Where are they now for this lonely creature on the streets?
Broken, humbled by the cold reality?

The song is dedicated to Steve Clark from Def Leppard. The bigger Def Leppard got, the more isolated their lives became. The price of stardom meant they couldn’t leave their house without an entourage.

Life at the top ain’t always what it seems

It’s a common critique of artists when they’ve made it.

“Freedom Slaves” is a foot stomper with another killer mid-section and solo. It’s written by Frank Hannon, Tommy Skeoch and Brian Wheat.

I pledge no allegiance to your flag
I feel I got me some damn good reasons for feelin’ bad
If you want freedom now, it’s got to be won
It’s only bullets. It’s just a gun

1991 had songs about war, especially with the Gulf War looming over our heads.

Can’t ya see that we’re all freedom slaves?

Freedom comes at a human cost, but then when our freedoms are hijacked by corporations and leaders in the pocket of lobbyists, we become capitalist slaves.

Welcome to freedom. Now, there’s work to be done.

There is work for the ones that have no alternative. They don’t have the degrees, the fortune 500 jobs or some other helping hand.

I don’t know what next they’ll be killin’,
Rapin’ the land with pollution and spillin’.
Here’s to the tired, to the hungry, to the helpless and the poor.
Is there no glory for blisters and sores?

The world was in GFC turmoil, six years ago. The perpetrators got out without any losses, while the working class, lost houses and their jobs. As the lyric states, there is no glory in blisters and sores.

“Had Enough” opens up with a beer can opening and then the riff kicks in. It’s a head banger about downing a few and smoking some weed.  It’s written by Jeff Keith and Tommy Skeoch.

Me and the boys are gonna rock tonite.
Drinkin’ double shots, feelin fine. Mmmm, I like it!
I like the way, the way it makes me feel.
Now, I’m in love witcha, Lady Mary Jane.
You put my mind at ease, make me feel no pain.
Keep takin’ me; keep takin’ me higher, well, and higher.
Light my fire!

The song is all about the high at the start and by the end the character in the song has passed the point of no return and is now addicted.

Have I reached the point, the point of no return?
When will I learn?

White Lion – Warsong
White Lion – It’s Over

Almost five months after “Mane Attraction” came out, White Lion split up and one of the most melodic and expressive guitarists was lost to us.

Mike Tramp wrote good social consciousness lyrics but his take on clichéd rock and roll themes fell short and failed to compliment the outstanding musicianship of Vito Bratta.

In all of this craziness, two songs stand out to this day.

“Warsong” shows the metal side of Bratta, while “It’s Over” shows the classic blues rock side of Bratta.

What are we fighting for?
When the price we pay is endless war
What are we fighting for?
When all we need is peace

When you look at the wars our homelands have been in and for what purpose, you start to question, why.

I know that I was wrong to treat you like I did
But don’t you think our love deserves a second chance 

The above is from “It’s Over”. The blues 12/8 boogie lays the foundations for Bratta to showcase his prowess.

Once the mirror breaks it’s never the same. Same deal with a relationship. Once you break apart once, it’s over. White Lion fragmented without even arguing. It was just time to say “It’s Over”.

Europe – Seventh Sign

“Prisoners In Paradise” album cycle was a lesson in record label politics. Europe wrote 20 songs and the record label rejected a lot of them. Outside writers got the call and Europe kept on writing songs. Eventually after 12 months, the album was done.

It cost a lot and once it was released it was left to fend on its own, without any record label support.

We could all come together
And gather all around
What good is war when we
All go down

Another song with a reference to war.

Savatage – If I Go Away

The whole rock opera from Savatage was an ode to making it, the vices that come with success and the loneliness once the crowds are gone.

Somewhere on that long lonely road
We all stand alone
Looking for clues
From our different views

That’s why we turn to music and the messages in our favourite songs. We are looking for clues from our artists. Maybe they’ve experienced the same.

If I go away
What would still remain of me?

What memories will people carry forward if they go away?

Screaming Jets – Better
Screaming Jets – Fat Rich Cunt

Screaming Jets is an Australian band that basically has legendary pub status within our shores.

They said you’d never get anywhere,
Well they don’t care and it’s just not fair
That you know, and I know better.

“Better” became like a national anthem in Australia. The whole groove of the song is infectious.

Fat Rich Cunt

It’s one of my favourites on the album. The message in the song, is even more relevant in 2016.

You drive your fast car,
All over the town,
You got your offices up 50 floors from the ground.
You hire your slaves to bid for you,
You’ve got a couple of wives and a mistress or two.
And I can’t wait to see you tumble and fall.

When I worked as an insurance broker, all of the people around me had second or third marriages, mistresses on the side and a cocaine habit to match.

You fat, fat, fat rich cunts.

The war cry.

Music, My Stories

David Lee Roth

The headline reads, “My Whole Career Is Based Upon Disturbances And Uproar”.

Below is an interview conducted by Steffan Chirazi that appeared in the February 1991 issue of Hot Metal, which was an Australian monthly magazine on all things metal. All the text in italics is the interview. The text that isn’t in italics is my addition.

“I take everything I do very seriously – it’s other people’s perceptions of me I don’t take seriously!”

In 2016 and with social media so prevalent in our lives, other people’s perception of us is important. We all want to be liked. But the rock stars of the past, like David Lee Roth, he didn’t care in the opinion of others. But then again, fans of music didn’t really have a voice to express their opinion. Regardless, the presence of social media and cameras in phones has changed the way rock stars behave. Suddenly perception of others is important.

David Lee Roth is nobody’s fool. The man is in total control, a fact that is reflected in Roth’s most interesting and diverse album yet, “A Little Ain’t Enough”. It roars with a title track that needs to be blasted loud, a stomper that shows just where those old Van Halen roots actually lie, yet crawls with a bluesy feel so low and steaming that you’d almost think the man has no manners. It’s also diverse; Roth’s the focus now and he simply assembles musicians when and how he needs them. This time that happened to be in a cheap motel in Vancouver.

David Lee Roth is a character. According to the New Oxford American English Dictionary, character means “strength and originality in a person’s nature”.

And David Lee Roth is unique.

The “A Little Ain’t Enough” album is good. This is David Lee Roth telling the world who he is in 1991. He is checking his bases to see if his brand of over the top, feel good, tongue in cheek vibe is relevant. It’s typical of other rock albums from the era. Two to three singles and filler for the rest. It went Gold right off the bat and then it stalled. Because of MTV.

MTV was a powerful entity. If a song got rotation on the video channel, sales went into platinum figures. If MTV refused to play it, the album would sell based on the previous albums goodwill and then it would disappear.

To prove my point on how powerful MTV was for an artist back then, just check out David Lee Roth’s Spotify stats in 2016. You have “Just A Gigolo”, “Just Like Paradise”, “Yankee Rose” and “California Girls” in the top 4 of his most streamed songs. MTV staples, every single one of them. So almost 30 years later, the influence and power of music television is still large in our lives.

“The hotel choice was a way of getting as close to the blues as possible – to see what effect it had, to try and live it and breath it. What happened was that we walked into basement of a 4-star hotel and one of our eminent rock bands was up there finishing a record, and they were all wafting around the gym in their matching terry-cloth robes and mixed drinks, complaining of tendonitis – you know, “Where’s my masseuse?”. Well, jeez, maybe you should switch glass to the other hand, OK? It was a case of no, this is not how our album should sound.”

You could just imagine that David Lee Roth would be a difficult subject to interview because he speaks in riddles and double speak.

I get the part where they holed themselves up in a hotel to see what output their living circumstances create. The whole part of the “eminent rock band” is all over the shop. It just doesn’t make sense. As I was reading it, I thought he would mention what songs came out of these living circumstances. However, he went on a rant about a pampered rock band.

Why not bring Bob Rock to some sh!ttty dump in Manhattan for an even fuller effect?

“We’ll I think Bob wouldn’t fit in there (he laughs before briefly explaining the compromise factor, Rock liking Vancouver better than anywhere to work)… And this move to the lower band hotel is not as out of the ordinary for me as it might sound. We don’t broadcast all over the world where we stay when we’re on the road for obvious reasons, but 7 out of 10 times you’re gonna do a lot better to stay in the a 55-end of a city. At that kind of hotel you’re not gonna have any problems with the noise and unusual characters turning up at odd times of the night. My whole career is based upon disturbances and uproar, they don’t start at 10 after 9 and stop at exactly 11 on cue. The environment helped us to get back to what I know and love best – blues based rock n roll”

This is Bob Rock before Metallica and after Motley Crue.

For the producer, his career trajectory was on the up.

For the artist, it was the beginning of a downward spiral.

DLR had no idea of what would transpire in the years ahead and the backlash that would come to hard rock bands and over the top performers like him. Real artists are made when things just don’t go to plan and roadblocks suddenly present themselves. A lot of artists today are tackling adversity by complaining about the internet and how it led to massive copyright infringements. Character is built by adversity. It teaches you there’s more than one way to achieve what you want. But the main goal has always been to get into the game and stay there.

“Rock ‘n’ Roll is based on irreverence, it’s designed to break the rules and come up with something new. Rock ‘n’ Roll is about disregard for convention, it’s about taking the best elements of those things and confusing the issues entirely with a while vision of the future, of confusing business with pleasure to the maximum”

Irreverence means a lack of respect for people or things that are generally taken seriously. Like the techies since Napster.

Heavy metal, hard rock, heavy rock, glam rock, call it whatever you want, was doing exactly that. However, once it became a commercially viable product, rock and roll ceased to be about irreverence and it became all about conformity.

Which you’ve managed to do pretty well over the years, as opposed to some boring, miserable fat old bastards…

“Walking it like you talk it is simple, but it aint easy! There’s a risk involved if you’re truly gonna do what’s in your head, heart or pants, wherever the motivation’s coming from – and I’m not saying in that order either. But there will be a risk – what if the fans don’t like it, what if the manager doesn’t think this is right – and so on. Walking that line and taking that risk is frightening to a lot of artists.”

You see DLR assumed he would be a star forever. However, the shelf life of rock and roll heroes was always short. It was only during the 80’s and courtesy of MTV that artists started to have a very long shelf life. ALAE is a ballsy album to do, however if you look at any album that DLR has been involved in, there always was an element of the unexpected. But he did take risks and he did try different things out and that makes him special in my eyes.

There again, when you travel through the Amazon, climb huge mountains and go hammerhead shark watching in the South Pacific, risks in music must seem easy.

“Absolutely, I like to practice the challenge, the management of a challenge, the great unpredictable finish, constantly re-assessing from moment to moment. If I’ve become jaded at all, it’s because I’m an adrenalin junkie and that’s my drug. You get better and better under pressure, you get more creative under stress. I love working with other people under pressure; no matter how well you know the music or the guys in the rhythm section, when tape’s rollin’ that’s pressure.”

“That challenge in a studio is different to the challenge in the Amazon or on a mountainside, but it’s the same drive. It’s like a muscle, and you’re either working it or jerkin it. You develop inside yourself. Your creativity’s the same thing, your ability on stage is the same thing. I never perceived it as ‘put on your costume and perform’.”

Has he ever felt vulnerable?

“When I did “Just A Gigolo” and “California Girls” coming off the heels of the grand Van Halen fiesta – I said “fiesta” not “fiasco” because it was a grand celebration – the crowning glory rock ‘n’ roll as the press depicted it at the time. To go from there into a left hand turn – to wind up at big band brass, Beach Boy, New York City in the same fiscal year – would be considered suicidal by most people behind the desk.”

So let’s put into context where David Lee Roth was at in 1991. We need to go back to 1985, when he left Van Halen after its biggest album to release an EP of cover songs. MTV loved the clips and he became a star by using his own name instead of the Van Halen name.

Then came “Eat Em and Smile” in 1986 and no one expected that album to stick but it did. Steve Vai and Billy Sheehan are all over the album and they more or less cemented themselves as band leaders in their own right. “Skyscraper” came and it capitalised on the MTV shift to melodic pop rock in the style of Bon Jovi. This time, keyboardist Brett Tuggle is all over the album. After the “Skyscraper” world tour, Steve Vai left to do his solo album and then he got an offer he couldn’t refuse from the Whitesnake camp. Billy Sheehan already left after “Eat Em And Smile” and went on to form Mr Big. David kept Gregg Bissonette on drums, Matt Bissonette on bass, Brett Tuggle remained on keys and added guitarists Jason Becker and Steve Hunter to write and record this album.

As a guitarist, I couldn’t wait to hear what Becker would do with David Lee Roth. However, when he came into the band, most of the songs were written. However, two songs from Becker made it to the final album cut, the “Hot For Teacher” on steroids song “It’s Showtime!” and the blues on shred steroids “Drop in the Bucket”. Of course fate would intervene and while Becker played on the album and co-write a few songs, he never toured behind it because of his ALS diagnosis.

When did Dave Lee Roth realise that snorting his sinuses to shit wouldn’t help his character or longevity? When did he learn about the bigger picture?

“I would say… last Sunday morning! Hahaha. He laughs heartily.

“Life is balance. I talk about all of these things that I do and I certainly do them all. But I’m not expert at any of it, and the rock ‘n’ roll term is adventurer while the medical term is fun hog! I qualify for the high-accelerated class.”

“I love the back room at the Rainbow. What you have to remember is, you won’t have anything to talk about at the Rainbow Bar and Grill if that’s all you do, go there. I have friends who do nothing but adventure travelling all the time, from Australia to Korea to Singapore… and that gets awful thin too. So there has to be that balance there, a bit of both.”

Now is as good a time as any to scotch/confirm Rothian rumours over the last year about Van Halen. Will there be a re-union? Would Roth do it?

“Perhaps down the line. I don’t think you can hold a grudge and be truly happy, and I’m absolutely delighted with who I am right now. I’m sitting in the catbird seat and I’m surrounded by brilliant people in every category and department. The future’s so bright it needs shades, and I’ve got the world tour firing up. Any divorce is gonna have sharp edges. I haven’t talked to the guys in the band for 5 or 6 years, but down the line anything’s possible.”

But the future wasn’t as bright as DLR thought. The world tour didn’t set any box office records on fire, like the “Skyscraper” tour. As much as DLR doesn’t want to admit it, but Steve Vai was a big drawcard for him, and on the first album, so was Billy Sheehan. Then he had the Van Halen reunion discussions, new songs for the various Greatest Hit packages, the MTV appearance fiasco and what not.

When talking about his own music these days, specifically “A Little Ain’t Enough”, Dave’s as colourful as ever.

“My roots have always been blues-rock, something that chugs along – y’get on a train that’s going 60 miles an hour and let’s do it over the ultimate riff. Remember the first time you heard side two of Led Zeppelin II? OK, that’s the set-up, we’ll land and take-off from there. As for those harmonies, I went to schools that were all black in high school, black and Hispanic. The only thing I heard at the high school dances was old Motown. Henceforth, all those harmonies. When the choruses came up, they light up all the whoo-hoos. These were trademarks of Van Halen music, and they’re things I contributed.”

“My driving wheel is the killer riff with natural harmonies, not 18 stacked up wide. Minimal overdubbing and going with solos off the floor and off the floor vocals as often as we can, sound spilling over the edges. There is a time to hone it but usually not. I want it intact, as it is.”

These days, Roth employs various musicians and writers, choosing to no longer had “a band” as such and just got it alone with various players. What brought Dave to this decision?

“As music director here I have a definite vision of what it’s meant to sound like or be like at any given time. That’s going to take different musicians, different styles of music. The difference in style between “Just A Gigolo” and “A Little Aint Enough” is a long throw, and if you’re writing songs with the same people who you go on tour with over and over again, it starts to become the same sounding. You can only be a virgin once, when you group up with a band and you learn about life and music at about the same time, well then out of that will come all the inspiration you need.”

David Lee Roth leads a rich life; what’s left for the man to experience?

“I dunno. I haven’t felt absolute committed love yet and I wonder what the might feel like. But I’ve been married to the audience for so goddamn long and what a fickle bitch she is, too!”

The fact is that David Lee Roth hasn’t felt the normal domestic everyday-life situations that most people take for granted.

“Sometimes I think I’m getting close, but then I kinda just realize I’m far away. One of the reasons I broke up my girlfriend was because I said, “Honey, kissing you is my second favourite thing in the world” and she asked me what the first was and I said, “Cashing a cheque!”.

That “cashing a cheque” ideal became the problem for hard rock. It stopped being about writing songs and started to be about writing songs that MTV would play and hopefully would cross over and sell. Record labels started to employ scorched earth marketing tactics.

He laughs a hearty one, doused with truth.

“The guy who said ‘Money can’t buy happiness’ didn’t know where to go shopping!”

Which somehow brings us around to the typical end of interview questions”

Wot will da stage show be like Dave?

“Y’know, I told the band when we first came together for our first rehearsal not so long ago, ‘If you can’t do it under one light bulb in a pair of borrowed jeans with a rented guitar, y’can’t do it at all!’”

David Lee Roth and co. will be appearing at a venue near you under their Philips 100 watt later this year…

“Oh well, maybe somewhere between 1 and 1100!”

The lightning ball of fizzle-crackle life they call David Lee Roth is back to remind you that he never actually left…

A to Z of Making It, Music, My Stories, Unsung Heroes

The Music Careers of the “Young Guns” from Guitar World September 1991

So I am flicking through an old issue of Guitar World that goes back to September 1991 and there is a D’Addario ad with the title “Young Guns II”. Pictured on the ad are the following guitar players;

Gary Hoey
John Axtel and Atom Ellis from Psychefunkapus
Tommy Bolan from Freight Train Jane
Gerard Zappa and Adam Holland from Valentine
Black Eyed Susan guitarists
Matt Prudoehl

So what happened to these “Young Guns.”

Gary Hoey auditioned for Ozzy Osbourne in 1988, during the search for Jake E.Lee’s replacement. We all know that Zakk Wylde got that gig. He also auditioned for Def Leppard, which ended up going to Vivian Campbell. Then he teamed up with a few LA vets in “Heavy Bones” who released one album in 1992 and when it did nothing, they broke up shortly.

Good musicians never quit. He went solo and had a hit with “Hocus Pocus” a cover of the Focus hit. This led to some chart success, some soundtrack work and a monthly column in Guitar World called “Hocus Pocus” which I found informative and helpful to my guitar playing.

Although Extreme became famous for the funk rock in the early nineties, Hoey broke it down to a teachable lesson called “Get The Funk Out” from Guitar World June 1994 issue. But the best lesson for me was “Arpeggio Acrobats” that appeared in the November 1994 which involved playing string skipping arpeggios. Since then he has more or less released an album each year.

A true warrior of the music industry and a diversified artist. He doesn’t have the world-wide recognition but he has what a lot of musicians that had world recognition wish they had. A career in the music industry.

John Axtel (guitarist) and Atom Ellis (bass) from Psychefunkapus got together in 1986 and by 1992 it was all over. Two albums came out on Atlantic. 1990’s self titled debut and “Skin” in 1991. Then it was all over.

John Axtel has been around the scene with various projects and the same for Atom Ellis.  They also have shown their diversity and that is why they have been around in various bands and different genre’s.

Tommy Bolan was part of “Warlock” and then joined the solo band of “Black N Blue” vocalist Jamie St. James, which in the end became “Freight Train Jane”. “Mitch Perry” was the first choice however he was unavailable. Then Tommy Bolan auditioned and St.James had his “guitar guy”.

The band got together around 1991 as the ad for the “D’Addario” strings shows. The album “Hallucination” didn’t come out until 1994 and it did nothing.

Everyone is quick to blame “Grunge” however the decline of glam rock and hard rock bands has a lot to do with the songs and their messages just didn’t connect with the new generation of kids. For example, “You” from the album is great song musically but lame vocally. And when you compare it to another song called “You” from Candlebox, you would understand why connected and one didn’t. Tommy Bolan for all of his talent has been hit and miss. His most recent execursion was an instructional video/book out called “Metal Primer”.

This is one person that should have achieved more however for some reason didn’t.

Valentine started with Adam Holland (guitarist), Craig Pullman (keyboardist) and Gerard Zappa (bassist) in 1986. Once all the other band members joined they moved to LA and did some demos. Columbia Records came knocking only to see a record label re-shuffle put the band in a tough position which then turned out okay as their original A&R rep took the band with him to Giant Records who then released Valentine’s debut CD in 1990.

They they became Open Skyz, a new label deal with RCA eventuated and another self-titled album came out in 1993. Another label re-organisation meant no label and compounded with fatigue after almost a decade of music industry ups and downs, they called it a day.

However they have all remained in the music business and to this day continue to have a career in the music business. A new album called “Soul Salvation” came out in 2008 after a positive response to their Firefest appearance. Adam Holland is also the guitarist in the Steve Augeri Band (former Journey lead vocalist).

Blackeyed Susan had Dizzy Dean Davidson on vocals/guitar, Rick Criniti on guitar and Tony Santoro (RIP) also on guitar. Critini and Santoro both did time together in the band “Rage” while Dizzy Dean Davidson was fresh from his “Britny Fox” stint. Criniti also worked as a live keyboardist for Cinderella.   This band was talented and they had pedigree, however it wasn’t to be. The band split after their label Mercury pulled the plug and stopped the touring support dollars from filtering down in late 1991. However all three have had a career in the music business that lasted decades, even Santoro until his untimely death at 40 due to a heart attack.

Tristan and Matt Prudoehl I haven’t even heard off. Not back then and not now. Probably a reason why they failed to have a music career.


A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

Hey Stoopid

Once upon a time we purchased albums based on recommendations by the rock press. Otherwise we had no idea what they sounded like until we broke the shrink-wrap and dropped the needle. Oftentimes we were surprised. For the “Hey Stoopid” album, I bought the album based on my expectations of what Alice Cooper would do after “Trash”.

Alice Copper had a string of hit albums in the Seventies. Towards the end of the decade and in the early Eighties his output was of a poor standard. Then he started to gain some momentum with two very underrated releases in “Constrictor” and “Raise Your Fist and Yell” which set him up for the massive mainstream comeback with “Trash” in 1989 and it’s hit single “Poison”. For the dummies, “Trash” was his Eighteenth studio album. Yep, Alice’s career at that point in time was eighteen albums deep.

So when it came time to record the follow-up to “Trash” another star-studded cast was assembled.

In the record label controlled era, the label wanted to achieve the same sales as the “Trash” album or more. Anything else would be deemed a failure. So a lot of cash was thrown at every body. Advance payments got paid to the songwriters, producers and engineers upfront in exchange for any future royalties earned from the album.

The whole album is like the “Super Session” formula conceived by Al Kooper. Back in 1968, Al Kooper got guitarists Mike Bloomfield and Stephen Still to play on Side One and Two respectively of a record and all they did was cover songs. Imagine that formula today. Put someone like Zakk Wylde in a room with Jared Leto and let them hash out a few covers. Then get someone like Billy Howerdel and Justin Timberlake to hash out a few more.

The Alice Cooper “Hey Stoopid” experiment takes it to a different level in every department.

The Song Writing Club

Alice Cooper is the main lyrical force. However he is not alone. Check out the list of songwriter partners.

Bob Pfeifer was an executive at Epic Records who signed Cooper to the label plus a former musician.

Jack Ponti has a long story in the music business. Originally a guitarist and his origins go back to the late seventies/early eighties New Jersey club band called “The Rest” that also had a young Jon Bon Jovi in it. The band ended up scraping enough cash to get Billy Squier involved and in the end he did nothing to push the band. Eventually the members went their separate ways.

A song that Ponti and Jovi wrote called “Shot Through The Heart” ended up on the Bon Jovi debut album released in 1984, as well as Surgin’s debut album “When Midnight Comes” released in 1985. Of course Surgin was the next band that Ponti became involved in.

Vic Pepe is another songwriter. Actually, Ponti and Pepe are the two guys that went back and did their homework on the early Alice stuff especially “Killer” and “Love It To Death” era Alice.

Lance Bulen and Kelly Keeling from the band Baton Rouge (who of course had Jack Ponti and Vic Pepe as songwriters) make an appearance as songwriters. At this point in time, Baton Rogue had two commercially disappointing albums, however the song writing team of Ponti, Pepe, Bulen and Keeling became formidable enough to lend their talents to Alice Cooper and Bonfire.

The super talented guitarist Al Pitrelli writes one song. What a music business story Al has.

Dick Wagner was back. Yep, the same Dick Wagner that co-wrote “Only Women Bleed” with Cooper back in the mid Seventies for the “Welcome to My Nightmare”.

Zodiac Mindwarp, Ian Richardson and Nick Coler lent their talents to “Feed My Frankenstein”.

Mick Mars and Nikki Sixx from Motley Crue co-write a song and also contributed their talents on a few other songs.

Jim Vallance from Bryan Adams and Aerosmith fame is on hand to lend a hand.

Of course, the person that orchestrated the “Tras”h comeback, Desmond Child also makes an appearance.

The Producer

Peter Collins is on hand to produce having recently worked with Saraya, and notably, Rush and Queensryche. This time around, Alice Cooper wanted a sonic producer. On previous albums he wanted producers who were also song masters, somebody who could tell Alice what worked and what didn’t. That is why Bob Ezrin fit in perfectly with Alice Cooper.

“Hey Stoopid”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Slash and Ozzy Osbourne make an appearance. Hard to believe that the song got no traction. Even today, on YouTube has the song at 482,974 views. Which is nothing in the grand scheme of things. On Spotify, it has a better 1,114,461 streams.

Cooper was inspired to write “Hey Stoopid” from reading sporadic mail from fans that all started to have a similar sounding theme. The title track is an anthem in the same way that ‘School’s Out’ or ‘Elected’ are and it should be heralded as such by Alice’s new generation of fans.

“Love’s a Loaded Gun”

It’s written by Alice Cooper, Vic Pepe and Jack Ponti. It’s got that “I’m Eighteen” feel and on YouTube has it at 2,268,116 views.


The sound of the rattlesnake sets the tone for the sleazy lyrics and melodies to come. It’s written by Alice Cooper, Vic Pepe, Jack Ponti, Bob Pfeifer, Lance Bulen and Kelly Keeling from the band Baton Rogue.

“Burning Our Bed”

It’s written by Alice Cooper, Al Pitrelli, Bob Pfeifer and Steve West. Joe Satriani makes an appearance.

“Dangerous Tonight”

It is an Alice Cooper and Desmond Child composition but this time is sleazy and dirty.

“Might as Well Be on Mars”

It’s written by Alice Cooper, Dick Wagner and Desmond Child. Of course it’s got that “Only Women Bleed” inspired guitar line.

“Feed My Frankenstein”

It’s written by Alice Cooper, Zodiac Mindwarp, Ian Richardson and Nick Coler.

Joe Satriani and Steve Vai communicate musically with each other throughout the song. Nikki Sixx lays down a bass groove and Elvira, Mistress of the Dark adds her sultry voice to proceedings.

“Hurricane Years”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Guitarist virtuoso Vinnie Moore makes an appearance. ‘Hurricane Years’ rips off the ‘Teenage Frankenstein’ riff but it is still a powerful track in its own right,

“Little by Little”

It’s written by Alice Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. Joe Satriani is back adding his magic.

“Die for You”

It’s written by Alice Cooper, Mick Mars, Nikki Sixx and Jim Vallance. Mick Mars makes an appearance on the song.

“Dirty Dreams”

It’s written by Alice Cooper, Bob Pfeifer and Jim Vallance. Vinnie Moore adds his talents to the song again. It’s classic sleaze ridden Alice.

“Wind-Up Toy”

It’s written by Alilce Cooper, Vic Pepe, Jack Ponti and Bob Pfeifer. “Hey Stoopid”, “Feed My Frankenstein” and “Loves A Loaded Gun” got the most airplay. But they were not the best tracks on the album. It’s this song. It’s a classic and equally as good as its predecessor in “Steven”. I remember one reviewer describing it as a haunting carousel ride.

“It Rained All Night”

It was a Japanese Release Bonus Track and it’s written by Alilce Cooper and Desmond Child. The first time I heard this track was today.

Alice Cooper had about fifty songs written for this record. Songs were written with the guys from Skid Row that didn’t even make it onto the album.

Then you look at the who’s who roster of quality musicians that also played on the album.

Stef Burns did most of the guitar tracks.

Hugh McDonald played bass. I believe it was his last studio gig before becoming Bon Jovi’s payroll bass player.

Mickey Curry is on drums who came from Bryan Adams and played with “The Cult”.

John Webster is on keyboards and he is part of that Bob Rock and Bruce Fairbairn crew.

Then you look at the calibre of musicians that made up his touring band.

Eric Singer was on drums. Of course he would go to become Kiss’s mainstay drummer

Derek Sherinian was on keyboards. Of course he would go on to join Dream Theater and eventually move on to a solo career.

Stef Burns from Y&T and Shrapnel guitar virtuoso Vinnie Moore stepped up as the touring guitarists.

Greg Smith, Vinnie Moore’s bass player became the new bassist.

Alice Cooper was one of the biggest rock stars of his day. Today the youth of the world might find that hard to believe, however his output and constant musical rebirths have just added to his legend.

Listen to it and re-evaluate.

Music, My Stories, Unsung Heroes

1991 – The Year Of Disruption


What a year of disruption. I was reading two Hot Metal magazines from October and November 1991 and it got me thinking about 1991. Hard Rock, Power Metal, Glam Rock and the pedal point Heavy Metal that we got used too was facing obliteration. The smarter acts started building their Ark’s. They saw the warnings. The rest all drowned in the flood. Castle Donnington in August had AC/DC, Metallica, Queensryche, Motley Crue and Black Crowes. All of those bands survived the flood, however Queensryche managed to commit hara-kiri many years after.

Guitar Heroes Looking For Work

Jimmy Page
He announced that he was working with David Coverdale. The media reported it as White Zeppelin and Led Snake. The band was filled out with Denny Carmassi (Heart) on drums, Ricky Phillips (Bad English) on bass with Johnny and Joe Gioeli from the band Brunette rounding out the band. Fast forward to March 1993, “Coverdale/Page” finally came out. The wheels of motion in the recording business travelled slowly once upon a time.

Of course the following month, it was also announced that Neal Schon along with Deen Castronovo signed a band to MCA. The band at the time didn’t have a name however it featured Johhny and Joe Gioeli from the band Brunette, whom Schon discovered when he started dating their sister. The bands line up was completed by Todd Jensen (DLR) on bass. Of course that band would go on to become “Hardline”.

Vinnie Vincent
It was announced that he was writing songs with Gene and Paul. Most of those songs would end up 1992’s “Revenge” including the excellent “Unholy”.

John Sykes
Rumours started circulating that he joined Def Leppard to replace Steve Clark and those rumours started to earn some credibility when Carmine Appice and Tony Franklin quit Blue Murder. Then the rumours started that he would be a touring guitarist for them, as Def Leppard had plans to bow out at the top. Of course we all know how that panned out.

Adrian Vandenberg
Was out of a gig after David Coverdale disbanded Whitesnake. Rumours started circulating that he was forming a project with
John Waite as Bad English was more or less over. Then he had a solo deal with Victory Records. Then rumours persisted that he was tapped to join House Of Lords who also had a deal with Victory.

Of course, Adrian Vandenberg went on to be involved in the supergroup “Manic Eden” that had Rudy Sarzo, Tommy Aldridge as well as Little Caeser vocalist Ron Young. Of course, the House Of Lords connection was there in the early incarnation of the band, as James Christian was the original vocalist.

Steve Stevens
Another guitar hero in between employers. He was also on the radar to fill the guitarist slot with House Of Lords and then he was working on a solo record and then he was announcing plans to work with Michael Monroe. Of course the Monroe project went on to become Jerusalem Slim.

Randy Jackson
He spent almost 5 years working on the “China Rain” project, assembling a brilliant band that included Brian Tichy on Drums, Ronnie Snow supporting Randy on guitar and Teddy Cook on Bass. Then the label decided to not release it.

Lita Ford
Released “Dangerous Curves” which got her a Grammy nomination. However it was a big price to pay to have that all-star backing band for a tour that didn’t take off. The band included Myron Grombacher (Pat Benater) on drums, Dave Ezrin on keys, Matt Bisoneette (DLR) on bass and Joe Taylor on guitars. Joe Taylor suffered the indignity of being fired by Jim Gillete, Lita’s husband at the time because Jim wanted to cut Taylor’s pay.

Dave Navarro
Rumours at the time stated that he was asked to replace Izzy Stradlin in Guns N Roses as rumours started circulating that Janes Addiction was more or less over as Perry Farrell and Eric A started to hate each other over their views on drugs.

Vivian Campbell
Was in a new hard rock band called Shadow King, with Lou Gramm of Foreigner, Bruce Turgon on bass and Kevin Valentine on drums. Eventually went on to become a Def Leppard main stay.

Vito Bratta
At that point in time it was known that Bratta had tied down a solo deal with Atlantic. Of course in 2014, we know that nothing panned out.

Jeff Watson
Was rumoured to be in a project with Carmine Appice, Bob Daisley and Derek St Holmes. That project ended up becoming “Mother’s Army” and the final line up consisted of vocalist Joe Lynn Turner, guitarist Jeff Watson, bassist Bob Daisley and drummer Carmine Appice. Again this news was out in 1991 and it wasn’t until 1993 that the self titled debut hit the market.

Neal Schon
Along with Deen Castronovo signed a band to MCA. The band at the time didn’t have a name however it featured Johhny and Joe Gioeli, whom Schon discovered when he started dating their sister. The bands line up was completed by Todd Jensen (DLR) on bass. Of course that band would go on to become Hardline.

Richie Sambora
He didn’t know if Bon Jovi would continue and released a solo album based on the blues infused with a little bit of pop and rock. He never achieved the platinum sales that he got with Bon Jovi, however he got to show a side of himself that could never have been shown in Bon Jovi.

Cemented Their Guitar God Status In An Hostile Environment

Zakk Wylde
Cemented his status as a guitar god with “No More Tears”. Every track is rock solid.

Paul Gilbert
Guitar players knew him from Racer X, however it was “Lean Into It” that brought him to the mainstream. Shame that it was a ballad that did it. Regardless the album is guitar heavy.

Dave Sabo and Scotti Hill
They came into their own on “Slave To The Grind”. Fusing rock, metal and blues with a shitload of groove. Add to that Rachel Bolan, the Nikki Sixx type persona of Skid Row.

James Hetfield
The whole “Black” album. Enough said.

Frank Hannon and Tommy Skeoch
They ramped it up on “Psychotic Supper”. Check out “Song and Emotion”, “Freedom Slaves” and “Had Enough”.

The New Winds

Nirvana dropped “Nevermind”. Earache Records had the big three in Napalm Death, Morbid Angel and Massacre.

Pearl Jam gave us “Ten” and it started to get some traction.

Soundgarden dropped “Badmotorfinger” and NIN was slowly rising in the background with “Pretty Hate Machine”.

Smashing Pumpkins released “Gish” to little fanfare and Prong released the critically acclaimed “Prove You Wrong.”

Alice In Chains sure did it tough, appearing on a few tours were even the people said “WTF”. Clash of The Titans saw them get pelted with rubbish and the Van Halen shows had people saying “What The”.

A Band Ahead Of The Times

Galatic Cowboys
Showed that diversity didn’t belong in the music business as at 1991. Mixing gospel, thrash, punk, bluegrass, rock and metal with a touch of prog and signed to Geffen. What could go wrong????


“Clash Of The Titans” did terrific business in major cities and dismal turnouts in rural cities and even cancelled a few gigs due to terrible advance sales.

“Operation Rock N Roll” with Judas Priest, Alice Cooper, Motorhead, Dangerous Toys and Metal Church earned the reputation as the biggest travelling failure of the summer.

GNR and Skid Row operated on a 70% of tickets sold tour.

Lollapalooza blitzed all comers.

The shift was happening.


Richie Sambora

So Richie Sambora is coming to Australia as part of the Soundwave festival and of course, his backing band now has an Australian flavour in guitarist Orianthi. I saw Richie Sambora at Shellies (now known as The Shellharbour Club) back in June 1998. June 19 to be exact.

My future wife purchased the tickets as a surprise. It was a small venue and it wasn’t sold out. To see a living legend in such an intimate gig was breath taking to say the least and man can he put on a show. When he played the Bon Jovi songs, he didn’t play them note for note as on the albums. He jammed them. He was like the Sheriff, leading the band around into extended instrumental lead breaks.

At the time, I think you could say that the attendance was disappointing compared to the lofty attendances that Bon Jovi (the band) could draw. In addition, Jon Bon Jovi toured earlier and played two shows at the Sydney Entertainment Centre. However that did not stop Sambora and his band of merry gentlemen, putting on an awesome 2 hour show for the devoted.

I will be very interested to check out Richie on a sidewave show, as I have no desire nor interest in going to an outdoor festival. It’s funny how at the same time that all of the Soundwave announcements were happening I was also reading an interview that Richie Sambora did back in November 1991, for the “Hot Metal” magazine.

The interviewer is Stefan Chirazi and it was part of Sambora’s press campaign for his first solo album “Stranger In This Town”.

I’d always taken one look at a photo of Richie Sambora and imagined a guy who thought he was God. Don’t ask me why, maybe it was the hat, but something made me think that Richie wasn’t without the knowledge that he was a super guitarist, a super stud and a super, errum, star. The photo’s always showed a lonesome pout, a little-boy-not-really-that lost sort of thing and I fully expected any meeting I had with Richie Sambora to legitimise my preconceptions.

I was wrong. Richie Sambora is, as we used to say in Britain, an obvious good lad. He’s also, obviously, a rocker through and through. When he tells me, gesturing up and down his body, that “I’d look like this whether I was on Bon Jovi or not” I instantly believe him. I don’t think Richie Sambora could bullshit you if his life depended on it, and once he’s started talking, he’s there, moving through the conversation with you.

1991 was three years after “New Jersey” came out and five years after “Slippery When Wet.” The band Bon Jovi was on hiatus. Jon Bon Jovi had another hit with “Blaze Of Glory.” This was a crucial time for the artist known as Richie Sambora.

Richie Sambora is a good guy, for real. It’s so nice to know that the camera lied. We’re sitting together to discuss Richie. It must be fun for him:

After years of being the Bon Jovi guitar player’ Richie now has his own album out titled “Stranger In This Town” and is striking a major blow for himself.

Deservedly. Just about the only linkage with his BJ side are those desert gypsy notes and moods that are created throughout the album. Richie the spiritualist?

“Y’see, I don’t wanna go back to being a rock star,” he starts warmly.

“I don’t consider myself a rock or pop star, I consider myself a musician and I would like people to consider me an artist. I don’t know if they do yet, but my dream is to have people respect me as a total artist…”

Sambora’s solo albums were never written to try and sell a gazillion records. They were written to please him. The first album really had this blues rock vibe happening. The second album has got this Springsteen Americana vibe happening and the third album has bits and pieces from the whole history of music.

Sambora allows his life and his work to merge on many occasions throughout the album.

“I wrote this album out of basically my life experience. I’m not saying each thing is exactly what happened, but it’s a general kind of outlook on the way my life’s been going.”

We talk about the song “Rest In Peace”, which seems like the natural extension of “Dead or Alive”.

“When I wrote that song I was primarily reading a lot of philosophy and a lot of poetry because I wanted to become…”

I interrupt to ask who he was reading.

“Well, a lot of Nietzsche, Shakespeare, Browning and Maria Rilke, who’s German. I’m not much for reading big books and biographies because I just don’t have the time. For 20 minutes I can sit down and read some poetry or philosophy, and I am a personal philosopher of sorts -I think everybody is if they really look at it. I have my own philosophies on my life and my views. This song was what I’d try and say to my old girlfriends when I’d go on the road. I’d tell them our love will rest in peace, kind of a way to say I love you. “RIP” is really a feeling, a dream I had which leads to the “Church Of Desire” and I think I’ve lived there many times with different relationships.”

“I think a lot of people have, because you get into a position where your romance reaches a stalemate. You have an argument, you’re here and she’s there and no-one’s givin’ in!”

The press have always hounded you more about your personal life and celebrity status than your music, but really the album contains all the answers to your feelings doesn’t it?

“You can get to know Richie Sambora from this album. Basically I’ve always tried to keep, even through the whole Cher trip, my life private. I didn’t do any interviews for a year and a half while I was living with her and I told her I didn’t really appreciate her doing her laundry in public with Rob Camiletti. I didn’t really appreciate the way that relationship went down, and I was friends with her through the whole thing. To me people know me as the guitar player from Bon Jovi but they don’t know me, the real artist, and hopefully this album can change that.”

“At the time Blaze Of Glory hit and things started to go good, Jon said he didn’t really know if he wanted to go on with the band again … not saying he didn’t wanna do it ever again but he wasn’t sure. That kind of left me in a difficult position because I didn’t have a record contract and I didn’t have a contract with Bon Jovi. For years I dedicated myself to that band and for three and a half years record companies were comin’ to me with all this money to do my own record and I would say, ‘No, I’m with a band.’ There was no time, so why load myself up with more responsibility than I can handle?”

Even back in 1991, everything Bon Jovi related was done on Jon Bon Jovi’s timetable. Sambora’s departure from the “Because We Can” tour goes back to the overdose of Jon Bon Jovi’s daughter in December 2012. When that happened Jon was in a different country. God forbid that if something really bad happened he would have been too late. This was Richie’s wake up call.

“Then, at the end of our last tour, we had some disagreements about different things. I owned the record
company which is now Jamco and used to be The Underground – Jon and I and Doc McGhee owned it all together. And I didn’t wanna be part of that anymore because I was so tired and beat up from being out there so long. I wanted to make a solo record and be in Bon Jovi, so I felt like those two things would be quite enough to fill my life. And, on top of that, to have a personal life that was gonna be enough. I didn’t need to be a record company executive and take another artist’s life in my hands, because before I got into this band I’d been on the raw side of some record deals and hated it. And I wasn’t gonna tell an artist that I could make their record happen when I was trying to figure out whose f_kin’ underwear I had on.

Who am i?

“There are times you really don’t know what day it is, let alone what time it is. It’s not bullshit it’s true. So my disagreements with Jon came in that light, i said, ‘Man, look, the money ain’t worth the f_kin’ time I need to get my head together. I’m drinking too much, f_king around to much.’ I was just outta control, I was becoming the very
thing that you’re meant to be in that position anyway…”

A rock pig?

“Exactly, and I didn’t dig it.”

There you go. Even back in 1989/1990 the argument between Richie and Jon was over money. How much money does a person want or need?

One of my favorite guitarists Jake E Lee was selling off his gear to pay the rent during the nineties, while Jon Bon Jovi was getting sued by Skid Row for publishing rip offs and buying zillion dollar penthouses.

When did you realise you needed to bail out?

“There wasn’t any one point – what really made me think I could go out on my own was when I did “The Wind Cries Mary” thing. I was in South America in month 16 of the Bon Jovi tour and was starting to feel very creatively stifled, as well as depressed. There were many days between shows because we were doing the huge stadiums, so you’d have five days off at a time to sit in your hotel room. Paramount rang and said they were in a jam for the Andrew Dice Clay movie and could I help out by jamming on “Wind Cries Mary”, to which I immediately said yes.

Touring is a lonely gig. It is in isolation that our heroes turn to vices.

“I knew it’d creatively get the whole thing going, anything to get me going. I asked for every Hendrix video and CD to be sent, and I lived him for five days. Band Of Gypsies was one of the first records I ever bought in my life, that and Deep Purple’s Machine Head.

“Every morning before I went to school I’d be playing those albums, so that five days in South America it was like getting re-acquainted with Jimi. I wanted to exploit his wild side a little bit, and I wanted to get into his head. It was like studying for a test, because I was scared…”

Of what?

“The fact that it was a hard task to follow – I hadn’t sung lead vocals for 10 years. Also I was stuck in the narrow parameter of the Bon Jovi music, at that point I wasn’t sure if I could break out of it. I didn’t f_king know, and it was important for me to go and try that. But once I started playing the records and the videos it just came out. I didn’t plan it. It just happened and I knew I’d be able to do it.

“I was very insecure, y’know, with the mental fatigue and the frustration I was having within the frame of the touring schedule. Cher was very instrumental because when I came off the road she took care of me. I went to live with her and she was very cool. I always sing around the house, strum a guitar but I was so mentally f___ked up that I didn’t know if I could do a solo album.”

Is it painful for you to know how many people paint the picture of you as an aloof rock star?

“Yeah, well, I try when people meet me on the street not to let em know by just being me, I try really hard not to pay attention to the fame and unit numbers. I can’t even think about that – Bon Jovi’s sold 30 million records and I can’t even evaluate that or relate it to real terms. All I know is that I work as hard as I can, and at this stage of my career I’m still working this hard. The ethic I always upheld in my heart is still with me and that’s what keeps me together. I’m lucky enough to have good friends, my old buddies.”

He gestures to himself, pointing at his clothes.

“This is me, y’know, old jeans, T-shirt… This is me on the ground and relating to people.”

Richie Sambora’s finally getting to know himself better. He’s also a good guy. Talking with him was more fun than I ever thought it could be…

That is why Richie still matters today. He works hard. Back at the start of the nineties, his cycle from 1983 was album/tour. The tours originally lasted 10 months and then when Slippery broke the tours turned to 2 year tours. He worked his arse off.

Music, My Stories

The Game Of Rock Stars Claimed Vito Bratta

“I didn’t like them, and they didn’t like me!” said White Lion’s guitarist Vito Bratta as he tried to explain why bassist James Lomenzo and drummer Greg D’Angelo abruptly left the band at the end of their European tour.

“We didn’t fight – it was like me and Mike were a separate band from the two of them.”

Within four days they had recruited bass player Tommy T-Bone’ Caradonna – a veteran of Lita Ford and Alice Cooper’s backing bands – and drummer Jimmy DeGrasso, formerly with Y&T.

“The way it is now,” Vito said excitedly, “there’s so much attitude it’s scary to me.” 

The above was printed in the Hot Metal September 1991 issue.

When White Lion departed with bassist James Lomenzo and drummer Greg D’Angleo in 1991, a lot of people saw it as the end for the band.

A change was coming in the musical climate.

The record labels didn’t have no moral obligation to keep their hard rock rosters in tact. The only obligation they have is to the shareholders and their bottom line.

So with every major label signing bands from Seattle, the poor old hard rock bands that made the labels billions over the last 10 years suddenly disappeared. White Lion was one of them. The label never dropped them, however in my mind they would have dropped them eventually if the band stayed together.

White Lion finished up because Vito Bratta became conflicted. Disillusioned.

The recording business in 1989 was not interested in originality or allowing artists free reign in the song writing process, even though it would have made the record label more money in the long-term. The recording business only cared about short-term income and total control. So you have two entities trying to do business with each other and of course, their goals are not aligned.

Vito was never afraid to make observations about the bands exploding on the scene. He made various comments in Guitar magazines and rock magazines, about the sad state of guitar playing and how the song ceased to matter.

Vito wanted longevity and he didn’t like how White Lion was seen as part of the same movement of bands that he was commenting about. He was an artist competing in a game of rock stars. He was an artist competing in a game of profits. With each game, there is a winner and a loser.

By 1991, every artist needed a hit to get recognition. The album format was already dead due to MTV playing the “HIT” video. If a band had a hit single then people were interested in buying the album to see what that band is all about. This is Vito’s disillusionment. When he made an appearance on the Eddie Trunk show, he said words to the effect like “how do you write a hit single” when he was talking about Big Game, the following up to Pride.

Vito should have trusted himself and pushed the songs that connect with him. We are drawn to emotion. We all want to be touched. Trust your heart. White Lion was never a band that played the singles game, however the industry forced them into it and their main musical songwriter started to second guess himself.