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The Riff & The Voice: JORN LANDE On Confronting The Dark With TONY IOMMI · HEAVY Music Interviews

• 0:00
  Speaker 1: I mean, since I'm a singer, I'm not necessarily always
• 0:05
  Speaker 1: into heavy rock or metal. Sometimes I love to just
• 0:11
  Speaker 1: listen to great singers.
• 0:15
  Speaker 2: And performers.
• 0:16
  Speaker 1: I come from Elvis Presley and then you have all
• 0:21
  Speaker 1: these great 70s bands and solo artists as well, from
• 0:26
  Speaker 1: Tom Jones to Rod Stewart. It was a lot of
• 0:33
  Speaker 1: work back and forth. I think when you write original
• 0:39
  Speaker 1: music you want to put your stamp on it or
• 0:45
  Speaker 1: you want to make some kind of an imprint. I
• 0:51
  Speaker 1: think the times we live in, it's quite hectic and
• 0:55
  Speaker 1: people are running all over the place like rabbits and
• 0:59
  Speaker 1: working with.
• 0:59
  Speaker 2: Each other, which is not wrong. It's just the times
• 1:03
  Speaker 2: that we live in.
• 1:03
  Speaker 1: But both me and Tony felt that.
• 1:09
  Speaker 2: We have to take.
• 1:12
  Speaker 1: The extra time to make sure it's right. And also,
• 1:16
  Speaker 1: if you look at.
• 1:18
  Speaker 2: his.
• 1:20
  Speaker 1: Legacy and also my history. It's kind of, I mean,
• 1:24
  Speaker 1: we did a lot of records and we worked on
• 1:28
  Speaker 1: so many songs over the years that you don't want
• 1:32
  Speaker 1: to copy yourself either. You just want to bring something
• 1:36
  Speaker 1: to the table.
• 1:36
  Speaker 2: And the.
• 1:39
  Speaker 1: Only thing you can do is, you know, you can
• 1:40
  Speaker 1: reflect on the past and be in the present and,
• 1:45
  Speaker 1: you know, reflect on that and then have thoughts about
• 1:48
  Speaker 1: what's to come, you know. So there's a lot of
• 1:51
  Speaker 1: darkness in some of the songs, you know, with whatever
• 1:54
  Speaker 1: obstacles life brings.
• 1:57
  Speaker 2: But then there's a lot of hope as well.
• 1:58
  Speaker 1: And of course, we want to, you know, go on living.
• 2:03
  Speaker 2: You know, life is short. You die, as they say. But,
• 2:07
  Speaker 2: you know, it.
• 2:09
  Speaker 1: As you get older, not that we're that old yet,
• 2:12
  Speaker 1: but we've been around for a while.
• 2:16
  Speaker 3: We're on the way.
• 2:17
  Speaker 2: Yeah, we're on the way.
• 2:20
  Speaker 1: But then you realize you have a lot of things
• 2:22
  Speaker 1: to do and there are more qualities to life which
• 2:26
  Speaker 1: you didn't necessarily enjoy in the same way before when
• 2:31
  Speaker 1: you were younger, like now. So now you really appreciate
• 2:36
  Speaker 1: a lot of simple things in life that you wake
• 2:38
  Speaker 1: up in the morning and you get your coffee and
• 2:40
  Speaker 1: you do certain things. You go to town or whatever
• 2:44
  Speaker 1: you do or you have some hobby or whatever. You
• 2:48
  Speaker 1: love these simple everyday things and you just want life
• 2:52
  Speaker 1: to go on and be able to do what you
• 2:55
  Speaker 1: love to do. For us, it's, I think, mutual in
• 3:00
  Speaker 1: that sense. In that sense, he could be my father,
• 3:04
  Speaker 1: but we're still... kind of at the same place. And
• 3:07
  Speaker 1: I think you get to that point when you turn
• 3:10
  Speaker 1: 50 plus or something, you start growing into something which
• 3:17
  Speaker 1: is more present, I think. And to reflect from within.
• 3:24
  Speaker 2: Was always important to me when I write. I did
• 3:29
  Speaker 2: with all my records too.
• 3:30
  Speaker 1: I guess some of my work was, you know, hasty sometimes, but.
• 3:35
  Speaker 2: There would always be compromises.
• 3:38
  Speaker 1: It would be like the single would have the right mix,
• 3:41
  Speaker 1: so I would be picky with that. Also when producing
• 3:45
  Speaker 1: my own albums, you have to think about everything. So
• 3:50
  Speaker 1: I think with the IOMI record, there's even more of
• 3:53
  Speaker 1: a teamwork thing going, the way we're used to in
• 3:59
  Speaker 1: the old days when when you would be together with
• 4:05
  Speaker 1: the guitar player or with the band and you would
• 4:09
  Speaker 1: actually compose stuff.
• 4:10
  Speaker 2: I think a lot of things today.
• 4:15
  Speaker 1: Are kind of fabricated on the computer or it's... Too much. Yeah,
• 4:22
  Speaker 1: too much. And then you're going to learn how to
• 4:24
  Speaker 1: play it later, which works when you have backing tracks
• 4:30
  Speaker 1: and stuff like that. A lot of people use that,
• 4:33
  Speaker 1: but we just want to make a proper album the
• 4:37
  Speaker 1: old school way, you know, and take the necessary time
• 4:40
  Speaker 1: to make it great. And I think that's what all
• 4:43
  Speaker 1: these people that we grew up with did. They spent
• 4:49
  Speaker 1: the extra time. I mean, how many takes did Elvis,
• 4:52
  Speaker 1: I mean, talking about Elvis Presley, it was take 32
• 4:56
  Speaker 1: or something. That was the actual single for Hound Dog
• 5:00
  Speaker 1: back then, was it? was it 58 or something? So,
• 5:04
  Speaker 1: I mean, even back then without the technology, you know,
• 5:07
  Speaker 1: you would put the extra work down and go the
• 5:11
  Speaker 1: extra mile to just to get that right take. And
• 5:14
  Speaker 1: I think, I mean, sometimes you can be too picky
• 5:18
  Speaker 1: with today's technology and it gets too, too clinical, everything
• 5:23
  Speaker 1: in this sounding too perfect, which again means, you know,
• 5:28
  Speaker 1: it could sound cold and very main, it's a mainstream
• 5:31
  Speaker 1: or whatever you want to call it but uh because
• 5:34
  Speaker 1: everyone's using the same um tools digital.
• 5:38
  Speaker 3: Tools and it is going to sound the same.
• 5:41
  Speaker 1: Yeah you can you know slightly different voice here and
• 5:45
  Speaker 1: slightly different sound to some of the songs and bands
• 5:49
  Speaker 1: but but there's a similarity something that i don't like
• 5:55
  Speaker 1: that much because it becomes very stereotyped or the whole thing,
• 6:03
  Speaker 1: the whole business.
• 6:04
  Speaker 2: And this is also because people have to rush.
• 6:07
  Speaker 1: Into the studio or they do stuff quickly because it's
• 6:13
  Speaker 1: not the same with the money situation. It's not the
• 6:15
  Speaker 1: same anymore. You don't have to have the same talent
• 6:18
  Speaker 1: anymore as long as you can, you know, compensate for
• 6:23
  Speaker 1: the lack of talent with the technology so yeah I
• 6:28
  Speaker 1: think with our album now I thought you know it's
• 6:35
  Speaker 1: essential that we bring the old school element into it
• 6:40
  Speaker 1: the craftsmanship of a proper record and that's why you
• 6:44
  Speaker 1: don't have like 14 tracks or 12 or whatever on
• 6:48
  Speaker 1: the album it's meant to be perfect for vinyl. You know,
• 6:53
  Speaker 1: when I grew up and some of my generation or
• 6:56
  Speaker 1: many of most of whatever, my plus minus my generation,
• 7:01
  Speaker 1: it was, you know, how many tracks were there? Eight,
• 7:06
  Speaker 1: nine tracks.
• 7:07
  Speaker 2: Yeah.
• 7:08
  Speaker 3: Four on one side and five on the other usually. Yeah.
• 7:11
  Speaker 1: I mean, unless there were, there were like pop records
• 7:15
  Speaker 1: with them, two and a half minute long songs, which
• 7:19
  Speaker 1: could happen, but yeah, Mostly in rock, you'd have like
• 7:24
  Speaker 1: eight or nine tracks. I remember one of the bands,
• 7:28
  Speaker 1: a friend of mine called Ronnie Litikro, a guitar player
• 7:32
  Speaker 1: from a band called TNT from Norway. I remember they
• 7:38
  Speaker 1: had some great success back in the 80s. I remember
• 7:42
  Speaker 1: one of their albums, it was I think 28 or
• 7:44
  Speaker 1: 29 minutes long.
• 7:47
  Speaker 2: In total. I remember, it's very short.
• 7:53
  Speaker 1: But I remember in the 90s, late 90s, when I
• 7:58
  Speaker 1: signed record deals, the record companies wanted to fill the
• 8:02
  Speaker 1: whole CD with the 60 minute plus of content. And
• 8:08
  Speaker 1: then I think that kind of killed the classic album
• 8:14
  Speaker 1: concept in a way.
• 8:15
  Speaker 3: Yeah, that's a good point.
• 8:18
  Speaker 1: Yeah, because some of the old records that we have,
• 8:21
  Speaker 1: there are no leftovers or.
• 8:24
  Speaker 2: Fillers, usually. Or maybe there are leftovers, but there are
• 8:28
  Speaker 2: certainly no fillers.
• 8:30
  Speaker 4: Yeah, and when I look at some of my earlier work,
• 8:35
  Speaker 4: I realize that track number 11 or 12 is similar
• 8:39
  Speaker 4: to track number 2 or 3 or whatever.
• 8:43
  Speaker 2: But not as strong.
• 8:45
  Speaker 1: So it's similar tempo, you know, you're into that same
• 8:52
  Speaker 1: kind of musical landscape, if you will. And I think
• 8:58
  Speaker 1: when you got rid of all those, I would say
• 9:01
  Speaker 1: like B songs or fillers, you'd be left with a
• 9:07
  Speaker 1: much more solid album. And I think that's also one
• 9:10
  Speaker 1: of the reasons why we look back and and just
• 9:13
  Speaker 1: hold these jewels in our hands, these great albums that
• 9:17
  Speaker 1: stand like staples even today. So I think that's what
• 9:24
  Speaker 1: we try to do with this one now. I mean,
• 9:27
  Speaker 1: it's his album. It's our work, but it's his album.
• 9:30
  Speaker 1: So as an old fan, I try to, of course,
• 9:35
  Speaker 1: do my best. I wanted to put my best effort
• 9:38
  Speaker 1: doing this because this is, I guess... in the rock
• 9:43
  Speaker 1: and metal scene, probably the biggest achievement or every rock
• 9:49
  Speaker 1: singer's dream to be able to work with.
• 9:52
  Speaker 2: Someone like Tony Iommi.
• 9:53
  Speaker 1: And I mean it's the godfather and he's kind of
• 10:00
  Speaker 1: the reason why so many bands started in this business
• 10:07
  Speaker 1: yeah so you know it was important to make sure
• 10:13
  Speaker 1: it was a great record but that I did my
• 10:18
  Speaker 1: best you know with it so And I think, you know,
• 10:20
  Speaker 1: taking the time.
• 10:23
  Speaker 2: That was essential.
• 10:25
  Speaker 1: Analyzing things, also when writing lyrics and coming up with
• 10:30
  Speaker 1: melody lines. It was good to take the time. Also,
• 10:36
  Speaker 1: since I'm not like an Australian native or English or American, Canadian, whatever....
• 10:45
  Speaker 2: I need more.
• 10:46
  Speaker 1: Time to, you know, think about my words and stuff
• 10:49
  Speaker 1: when I write. But then again, that can also be
• 10:55
  Speaker 1: a blessing because when you're not speaking or it's not
• 11:01
  Speaker 1: your native language, you kind of, you take, you know,
• 11:07
  Speaker 1: different turns and twists and you take the liberty to
• 11:11
  Speaker 1: use combinations that... Yeah, to be a bit more unique
• 11:21
  Speaker 1: from your perspective. Yeah, and also sometimes when there's a
• 11:26
  Speaker 1: sentence and it maybe sounds a bit weird or.
• 11:31
  Speaker 2: Mike Exeter, the producer, he would.
• 11:34
  Speaker 1: Sometimes push the talkback button in the studio and he would.
• 11:37
  Speaker 2: Say, what did you just sing? What does it mean?
• 11:42
  Speaker 2: You know, and then.
• 11:44
  Speaker 1: will I explain it?
• 11:46
  Speaker 2: Ah, I get it.
• 11:48
  Speaker 1: That's brilliant, that is, he would say sometimes. Other times
• 11:51
  Speaker 1: he could say, it's not something you would say in England,
• 11:56
  Speaker 1: for sure, and then you might throw back some kind
• 12:00
  Speaker 1: of a suggestion, but other times he would love it
• 12:04
  Speaker 1: and we would just keep it as is. But I
• 12:06
  Speaker 1: think that's also an advantage, that you can play with
• 12:09
  Speaker 1: words in a different way than... you know the native
• 12:15
  Speaker 1: Brits or Australians or Canadians Americans also that's an advantage
• 12:22
  Speaker 1: as well for me but I need the extra time
• 12:25
  Speaker 1: to you know to sit with it and so I
• 12:29
  Speaker 1: get up the next day and I check it again
• 12:32
  Speaker 1: and then I have some alternatives and then you know
• 12:35
  Speaker 1: eventually I decide and of course my wife she's always
• 12:41
  Speaker 1: she's great it's just a I always ask her, what
• 12:44
  Speaker 1: do you think? I can't decide now. I love this
• 12:47
  Speaker 1: and I love this. This sounds original, but this one
• 12:51
  Speaker 1: is more generic, but it's good. But what do you think?
• 12:54
  Speaker 1: So I throw the ball at her sometimes. Yeah, because
• 12:58
  Speaker 1: I just need.
• 12:59
  Speaker 2: To make a decision and get on with it. So, yeah, so.
• 13:08
  Speaker 2: We have a wife and manager.
• 13:10
  Speaker 1: And you know we have a good symbiosis at the house.
• 13:15
  Speaker 3: That's a good chain method man, very good chain method.
• 13:17
  Speaker 2: Yeah and I mean.
• 13:21
  Speaker 1: Yeah so yeah and you know going back and forth
• 13:24
  Speaker 1: to England to see Tony and Mike you know it's
• 13:30
  Speaker 1: been very rewarding in the sense that all those questions
• 13:38
  Speaker 1: that you had, all the thoughts you had about the
• 13:41
  Speaker 1: stuff in the business, your heroes.
• 13:44
  Speaker 2: Tony would tell me stuff about how Ozzy would record
• 13:47
  Speaker 2: his vocals.
• 13:47
  Speaker 1: Or Ronnie or stuff like that, even though I asked
• 13:53
  Speaker 1: Ronnie and myself a long time ago when I toured.
• 13:57
  Speaker 1: I played for a while with Ingrid Malmsteen, just stepping
• 14:01
  Speaker 1: in on a couple of tours in the US. because
• 14:06
  Speaker 1: his former singer had left the band and stuff. He
• 14:10
  Speaker 1: had a couple of members from my band at the time,
• 14:12
  Speaker 1: so it was like a natural thing to do.
• 14:19
  Speaker 2: I had this phone.
• 14:20
  Speaker 1: Call in Spain when I was touring from my drummer
• 14:25
  Speaker 1: in a band called.
• 14:26
  Speaker 2: Ark, which we did a couple of records with at
• 14:28
  Speaker 2: the time.
• 14:30
  Speaker 1: But then he was also the drummer for Yngwie Malmsteen.
• 14:35
  Speaker 1: And the bass player, Randy Cohen, was also in my band.
• 14:37
  Speaker 1: So we had actually, for.
• 14:39
  Speaker 2: A while, we had actually.
• 14:40
  Speaker 1: Oh, and Mats Olauson, who sadly passed away some years ago, too.
• 14:45
  Speaker 2: Well, actually, Randy passed as well a few years ago.
• 14:48
  Speaker 1: But that was kind of my connection to Ronnie and
• 14:55
  Speaker 1: getting to meet one of my idols and tour with
• 15:00
  Speaker 1: the Dio band.
• 15:01
  Speaker 2: We played.
• 15:03
  Speaker 1: Before Dio, it was kind of like a double billing.
• 15:07
  Speaker 1: But I always say Dio was the headliner because Dio
• 15:11
  Speaker 1: was Dio. And at the time I was younger and
• 15:21
  Speaker 1: I would say maybe not ready for.
• 15:27
  Speaker 2: What I'm ready for today.
• 15:29
  Speaker 1: So it's kind of like the school of rock.
• 15:33
  Speaker 2: You meet your heroes and you.
• 15:36
  Speaker 1: Look towards the people you respect and take influence from
• 15:42
  Speaker 1: and then you.
• 15:43
  Speaker 2: Kind of carve your own path bit by bit.
• 15:48
  Speaker 1: The great thing with Ronny was that I could ask
• 15:51
  Speaker 1: him questions as well about stuff, what happened after Rainbow,
• 15:54
  Speaker 1: when he entered into Black Sabbath and became a part
• 16:00
  Speaker 1: of that family tree.
• 16:02
  Speaker 2: And why did it end?
• 16:05
  Speaker 1: Stuff that you know now after he passed, but because
• 16:11
  Speaker 1: of the internet and all that and interviews and a
• 16:14
  Speaker 1: lot of people talking about it and himself also talking
• 16:17
  Speaker 1: more about it.
• 16:18
  Speaker 2: In the last few years.
• 16:21
  Speaker 1: Before he passed. Of course, Wendy talked about it many
• 16:28
  Speaker 1: times now. Back then when I did that tour with Dio,
• 16:36
  Speaker 1: not many people knew the story, how they had to
• 16:39
  Speaker 1: move from LA and further out to the countryside because
• 16:47
  Speaker 1: it was expensive to live in LA and it was
• 16:51
  Speaker 1: cheaper in the countryside there. And they had to live
• 16:55
  Speaker 1: somewhere rural because of that. And so all these questions,
• 16:59
  Speaker 1: which actually I got some great answers to, and that
• 17:05
  Speaker 1: helped me carve my own way and think, because I
• 17:10
  Speaker 1: had always thought about what to do.
• 17:11
  Speaker 2: Should we change?
• 17:15
  Speaker 1: The classic rock industry as we knew it was about
• 17:20
  Speaker 1: to change, or it already changed in the 90s with
• 17:23
  Speaker 1: the Seattle wave and the grunge era, stoner bands and
• 17:28
  Speaker 1: all that.
• 17:28
  Speaker 2: But you wanted.
• 17:31
  Speaker 1: To do the same thing.
• 17:35
  Speaker 2: Like your heroes.
• 17:37
  Speaker 1: You went through that journey from like I mentioned before,
• 17:42
  Speaker 1: from Elvis to, you know, the heavier rock music, you know,
• 17:48
  Speaker 1: Ozzy came in with solo stuff, Dio, and then you
• 17:50
  Speaker 1: had all the melodic radio MTV bands, you know, from
• 17:57
  Speaker 1: Def Leppard and Art.
• 18:00
  Speaker 2: And all these. And when you grow up.
• 18:03
  Speaker 1: With that, you kind of realize that, wow, I love
• 18:05
  Speaker 1: Lou Gramm, I love Steve Perry, I love all these
• 18:09
  Speaker 1: singers too.
• 18:10
  Speaker 2: Steve Walsh, Kansas. Wow, what a singer.
• 18:13
  Speaker 1: And you bring all these elements into your own thinking
• 18:18
  Speaker 1: and the way you create. And you don't necessarily think
• 18:23
  Speaker 1: about it. It's just a part of your DNA since childhood.
• 18:31
  Speaker 1: And it's just stuck in you.
• 18:33
  Speaker 2: So, So sometimes you write your own stuff and you
• 18:36
  Speaker 2: don't even know that.
• 18:37
  Speaker 1: You took some piece from something that you heard, you know,
• 18:41
  Speaker 1: 40 years ago or 50 years ago. It's just there
• 18:46
  Speaker 1: and then, but maybe not exactly the same, but you
• 18:48
  Speaker 1: can obviously hear that there's a similarity to some phrasings
• 18:52
  Speaker 1: and some lines. And the same goes for the IOMI. Yeah,
• 18:55
  Speaker 1: it's natural, but it's the same goes for the IOMI record,
• 18:58
  Speaker 1: you know, from when you listen to the first single.
• 19:02
  Speaker 2: World Alone. It's easy to hear my Ronnie Dio influence there.
• 19:10
  Speaker 2: It opens up.
• 19:11
  Speaker 1: With, what do I think, Hey Stranger, you run into
• 19:16
  Speaker 1: the wall.
• 19:17
  Speaker 2: That's the first thing.
• 19:21
  Speaker 1: Black shadow rises looming over your life, which is kind.
• 19:25
  Speaker 2: Of the first statement.
• 19:26
  Speaker 1: But the way that's sung is very Dio-esque in a way.
• 19:32
  Speaker 2: Yeah, yeah.
• 19:33
  Speaker 1: But then again, I'm doing a different twist as the
• 19:38
  Speaker 1: song goes along. When you get into the chorus, it's
• 19:41
  Speaker 1: more like a typical Jorn thing. Something I would do
• 19:47
  Speaker 1: when I write some of my own Jorn albums, which
• 19:52
  Speaker 1: don't necessarily remind you of something specific in rock. Maybe
• 20:01
  Speaker 1: I took it from somewhere, who knows?
• 20:03
  Speaker 2: It's got to come from somewhere!
• 20:09
  Speaker 1: Sphere, I don't know. But some of that sounds more,
• 20:16
  Speaker 1: I would say, original in that sense. But I think
• 20:20
  Speaker 1: it's important that you bring the best of what you
• 20:28
  Speaker 1: brought with you. Best from within. And sometimes that means
• 20:33
  Speaker 1: you pick up bits. I think guys like Ronny, all
• 20:37
  Speaker 1: these people, Freddie Mercury, Robert Platt, they all used expressions
• 20:44
  Speaker 1: and phrasings that they carried with them, and maybe in
• 20:50
  Speaker 1: the same way. I mean, Freddie would listen to maybe
• 20:53
  Speaker 1: operatic stuff, and I grew up in India or something,
• 20:57
  Speaker 1: I know, and.
• 21:01
  Speaker 2: Then, you know, back to England. So....
• 21:05
  Speaker 1: All these elements that make you who you are. So
• 21:10
  Speaker 1: whether it's folk music or some teacher that you listen
• 21:13
  Speaker 1: to or whatever, a local choir and there's a great
• 21:17
  Speaker 1: solo singer there or whatever it is, gospel choir.
• 21:22
  Speaker 2: I don't know.
• 21:24
  Speaker 1: Elvis went to the black areas and he listened to
• 21:29
  Speaker 1: all the blues and soul singers, you know, and he
• 21:32
  Speaker 1: took a lot from that. He had to give something
• 21:35
  Speaker 1: real to be able to get a record contract or
• 21:37
  Speaker 1: to get recognized in the business. And I think that's
• 21:43
  Speaker 1: changed a lot.
• 21:45
  Speaker 2: I mean, even.
• 21:47
  Speaker 1: Somebody with, you know, a pop singer that was looking
• 21:51
  Speaker 1: great would still have a good voice, you know. I mean,
• 21:56
  Speaker 1: Dolly Parton would just... asked what a songwriter, what a performer,
• 22:04
  Speaker 1: what a voice and personality. So it was a different
• 22:11
  Speaker 1: time and a different criteria for entering into the music
• 22:16
  Speaker 1: business compared to now. I guess the wine is a
• 22:21
  Speaker 1: bit watered out with everything that's released all the time
• 22:25
  Speaker 1: and that's also a little, you know, it's like the fish,
• 22:30
  Speaker 1: you know, jumping a bit higher than the other fishes.
• 22:33
  Speaker 2: So you could say that this record, From the Dark, is.
• 22:37
  Speaker 1: Kind of like, hey, I'm higher than you guys. This
• 22:42
  Speaker 1: is the real shit right here. And, you know, before
• 22:45
  Speaker 1: you pop back down, kind of. And I think that
• 22:50
  Speaker 1: was the only way to do it now with the
• 22:53
  Speaker 1: world being, you know, overloaded with releases all the time.
• 22:59
  Speaker 1: All these labels out there now, small and big, just
• 23:04
  Speaker 1: flooding the scene. It's hard for people to actually follow
• 23:08
  Speaker 1: up on everything. So you just choose something and you
• 23:11
  Speaker 1: stay in your bubble there. But it was easier to
• 23:16
  Speaker 1: know what was going on back in the day, you know.
• 23:20
  Speaker 5: One thing that I did want to know, mate, like
• 23:21
  Speaker 5: I read something from Chaney where he mentioned that the
• 23:25
  Speaker 5: first two tracks that you brought to the project completely
• 23:28
  Speaker 5: changed his original vision for it.
• 23:30
  Speaker 3: So what did he actually mean by that?
• 23:34
  Speaker 1: Well, you know, from the beginning I was asked if
• 23:39
  Speaker 1: I wanted to, you know, contribute to the album and maybe,
• 23:46
  Speaker 1: you know, work on a track.
• 23:48
  Speaker 2: Or two and then the plan was.
• 23:50
  Speaker 1: To have several guest singers on the album. I guess
• 23:57
  Speaker 1: also it was a bit hanging in the air because
• 24:00
  Speaker 1: he had been working on some of the arrangements which
• 24:04
  Speaker 1: had like a more symphonic orchestral kind of thing going.
• 24:09
  Speaker 2: So he.
• 24:12
  Speaker 1: Was also into some of the ideas to do something instrumental.
• 24:20
  Speaker 1: So I think he ended up then with some kind
• 24:23
  Speaker 1: of a combo there that he wanted to do several
• 24:26
  Speaker 1: singers but with the symphony orchestra kind of thing to
• 24:32
  Speaker 1: go with the darker, doomy piece of music, you know,
• 24:37
  Speaker 1: and his heavy riffs and all that.
• 24:41
  Speaker 2: But then, you know, after we did....
• 24:45
  Speaker 1: I did the first track, which was called Beyond the Dead,
• 24:50
  Speaker 1: which is more like, you know, it's what it is.
• 24:54
  Speaker 1: You know, it's thoughts about what's going to happen after
• 24:57
  Speaker 1: you pass and the kind of despair in that and
• 25:04
  Speaker 1: how you want to go on and how you're going
• 25:07
  Speaker 1: to miss life. And there's a lot of darkness, but
• 25:11
  Speaker 1: there's a lot of.
• 25:12
  Speaker 2: Hope also in it.
• 25:15
  Speaker 1: It's kind of like a direct song and Tony loved
• 25:23
  Speaker 1: it and his manager and everybody thought this was a
• 25:30
  Speaker 1: really strong track. So they sent me another one and
• 25:35
  Speaker 1: the second track was Stormwatcher, which is one of my
• 25:41
  Speaker 1: favorite songs.
• 25:43
  Speaker 2: Off of the album. Great heavy song with a.
• 25:51
  Speaker 1: Maritime ship in storm type of topic, like a ship
• 25:57
  Speaker 1: crashing through the waves.
• 25:59
  Speaker 2: I knew after those two.
• 26:02
  Speaker 1: Tracks, they told me that I What you did was,
• 26:16
  Speaker 1: like you said, for what to expect for the next
• 26:20
  Speaker 1: run of the album. And they just decided that one
• 26:23
  Speaker 1: singer instead.
• 26:24
  Speaker 2: Of, you know, several singers.
• 26:31
  Speaker 1: And, you know, some of the stuff we worked out
• 26:33
  Speaker 1: at Tony's house in his home studio. So, you know,
• 26:38
  Speaker 1: he would play some riffs and I would be on
• 26:40
  Speaker 1: the floor, you know, out of the couch and and
• 26:44
  Speaker 1: addressing the tapestry wall and the singing is something that
• 26:48
  Speaker 1: sometimes without a lyric, uh, and, uh.
• 26:52
  Speaker 2: You know, we had a lot of laughs about that because.
• 26:54
  Speaker 1: Tony would go, Oh, so you, so you're singing to
• 26:59
  Speaker 1: the wall now. Next time, next time you come, I'm
• 27:04
  Speaker 1: going to put the audience up there.
• 27:07
  Speaker 2: So, uh, it was a lot of fun.
• 27:08
  Speaker 1: And, uh, It was doing it the way we used
• 27:16
  Speaker 1: to do it when.
• 27:17
  Speaker 2: We were young.
• 27:18
  Speaker 1: I mean, except some tracks already had the demos there
• 27:22
  Speaker 1: with the music, drum machine and all that, and they
• 27:26
  Speaker 1: sent it to me.
• 27:27
  Speaker 2: But then, you know, we changed it along the way.
• 27:29
  Speaker 1: Tony would change some riffs and I would sometimes change
• 27:34
  Speaker 1: a melody line.
• 27:36
  Speaker 2: And Mike is a great keyboard player and arranger as well.
• 27:43
  Speaker 1: And, you know, the band, it was wonderful. I mean,
• 27:48
  Speaker 1: Carl Brazil, who's the drummer with Robbie Williams, he got
• 27:55
  Speaker 1: to kind of come out of the closet, you know,
• 27:58
  Speaker 1: in a good way because he's used to playing more
• 28:02
  Speaker 1: pop-oriented music and, you know, more restrictions on himself playing-wise.
• 28:09
  Speaker 2: And he could really go for it and, you know, play...
• 28:12
  Speaker 2: play the way he's supposed to.
• 28:14
  Speaker 1: Play kind of at least from my perspective and he's
• 28:20
  Speaker 1: a great drummer I think he was very very happy
• 28:26
  Speaker 1: to play this record and Becky Baldwin plays also with
• 28:32
  Speaker 1: merciful female bass player that you don't hear often in
• 28:36
  Speaker 1: this world you know inspired by or influenced by Geezer
• 28:41
  Speaker 1: for sure.
• 28:42
  Speaker 3: Yeah, absolute pleasure chatting with you, man. The album From
• 28:46
  Speaker 3: the Dark is out October 23rd.
• 28:47
  Speaker 5: I owe me his first solo album in a long
• 28:50
  Speaker 5: time and your performance on it, mate, is nothing short
• 28:53
  Speaker 5: of spectacular.
• 28:54
  Speaker 3: So best of luck and I hope we get to
• 28:57
  Speaker 3: see you out here one day soon.
• 28:58
  Speaker 2: Yeah, I'm pretty excited, yeah.