Francois sais pas, Flashe no deux And you don't stop, sure shot Go out to the parking lot And you get in your car and you drive real far And you drive all night and then you see a light And it comes right down and lands on the ground And out comes a man from Mars And you try to run but he's got a gun
And he shoots you dead and he eats your head"
I've always been a little bit Blondie obsessed. Ever since my parent's Halloween party when I was 8 I've known exactly who Debbie Harry is. That night, my dad played the extended dance mix of "Heart Of Glass" no less than 20 times and I went to bed wanting to grow up to BE Harry. Fast forward a few years and along came "Rapture" which was a total game changer. Not only did Harry rap that legendary verse, but it was the very first rap verse to sit at the number one spot on Billboard's Hot 100.
Harry took what only guys like Grandmaster Flash and The Sugarhill Gang were doing, and made it even better. She was a game changer and "Rapture" was such a huge song. It was playing in the background of everyday life no matter where you went and I certainly wasn't complaining. The video is iconic and I still have to stop and watch it at least once a week. Check it out below!
Since Covid-19 has brought gigs to a screeching halt we are flashing back to some of the best of the best content here at DailyBOOM.
ICYMI
I was first introduced to Jim Peterik's work when I was still in diapers. In the 1970s my dad was music-obsessed and used his gigs in local radio to justify his growing vinyl collection. Growing just as quickly was his literal wall of stereo equipment. He would make several trips to a store called Stereo House before finally plunking down a wad of cash and walking out with a big box of something that he would spend the next several hours agonizing over. The sound had to be just right and one of his favorite songs to use in order to achieve that perfect musical balance was "Vehicle" by The Ides of March, a group co-founded by Peterik 55 years ago.
Aside from playing guitar, keys and being a vocalist, Peterik is also considered to be songwriting royalty. His work with 38 Special, Sammy Hagar, REO Speedwagon, and more has been top-notch, paving the way to a Grammy win for a little ditty called "Eye of the Tiger", a song by Survivor (another blockbuster group that he co-founded).
After more than fifty years in the industry, Peterik still has plenty to do. He is writing for the likes of The Beach Boys, still performing with The Ides of March, and recently released a single, "Proof of Heaven" with Dennis DeYoung off of his latest World Stage release,Winds of Change. I had a chance to chat with Peterik recently and it was like climbing into a musical time machine that I didn't want to step away from. Check it out below.
Photo: Jim Peterik's Official Facebook
Jim Peterik on working with Dennis DeYoung on "Proof of Heaven":
"The song with Dennis DeYoung was a long time coming because we've been friends for forty years or something. I had my first hit "Vehicle" withThe Ides of Marchwhen he was just getting started. He was making the transition from Tradewinds (later TW4) to a group called Styx, while we were at the top of the charts. Here they come with this song called "Best Thing" and I thought, 'Oh boy' (laughing). We became friends and very friendly rivals at the same time, but we've always had a deep respect for each other. He recently moved nearby, to the suburbs of Chicago, and so we started just going to dinner together with our wives, with absolutely no agenda. Dennis started to tell me about his new band that is kind of Styx-y that he plays with now, and how he has been doing theatrical work and solo work, but he started to get really excited when telling me about how he wanted to get back into rock and roll. Of course, (laughing) I was the final nail in that coffin because I told him he had to make a new record. Yeah I know, they don't sell anymore, yadda yadda, I know, but people want to hear his voice. They want to hear his music, and so I just kept hammering him (laughing). He'll tell you that if it wasn't for me he probably wouldn't have done the album, but once he got started then he really reclaimed that sound that he was such a big part of creating with Styx.
"Proof of Heaven" is really kind of like proof of Dennis because it so echoes the Styx sound. I co-wrote it with him and I was very supportive of that sound. He asked me to put it on my World Stage album and I was stunned because it was supposed to be for his album. He really wanted it on this album and he wanted to do the video together and to just make it great, and so, of course, I said 'Hell yeah', (laughing). It was a beautiful thing and then when he gave me the green light we went into the studio with some of his band and some of the people that I work with. It was like a collective when we finally cut it, a hybrid of Dennis' world and my world.
I'm anxious for people to listen to World Stage because it's one of my highest moments. I got to work with some of my heroes and I'm really thankful to be able to blend old friends with new friends on this project."
Jim on the lightning in a bottle that is The Ides of March:
"It's a funny little story. I wrote the song "Vehicle" to try and win my girlfriend back and I guess it worked because 46 years later I'm still married to her (laughing). We never thought it was going to be a hit record. We already had one song out called "One Woman Man" which was great but it stiffed, so Warner Brothers dropped us. We were trying to win them back by putting a demo tape together and "Vehicle" was number four on this tape, out of four songs. It was decent and when we played it at dances the dance floor would fill up, so we saw it as that kind of song and not really a hit song. That's how much we knew (laughing). We cut it and the record company said, 'That's the song, guys!'. It was the fastest rising record in Warner Brothers history and suddenly I'm 19-years-old and on the road with Led Zeppelin, Janis Joplin, and The Grateful Dead wondering what just happened. The oldest guy in our group was only 21 and it was just incredible. Even more incredible is that the song is still around. You still hear it on the radio and in commercials on television.
The Ides of March have now been together for 55 years and on August 15th we're releasing our anniversary album called Play On, with the original four guys. We're really proud of it and we're doing a double vinyl album with the fourth side being all of the classic masters. We have never stopped playing, even in the seventeen years that I was with Survivor. It went to the back burner for me, but we never stopped. I think we're the oldest living band with its' original four members."
Jim on Survivor and unearthed Jimi Jamison vocals:
"Oh, it was a great band and we made a lot of great music. The chemistry in a band isn't always smooth and sometimes the jagged edges are what help to really create that unique band. I think that kind of summarizes Survivor. There was a lot of tension, creative differences, and power struggles that were not pleasant at the time, but I think that those things helped to form what we were. I can't argue with the success and we created a real signature sound that was Survivor. We were blessed with two great singers, with Dave Bickler who sang "Eye of the Tiger", and the Jimi Jamison who sang so many great hits. I miss him every day, to this day.
Flash forward to the present, the last track on the new World Stage album is an uncovered, lost Jimi Jamison track called "I'll Love You All Over the World". I found this old tape from 2008 and it wasn't cut very well but his vocal is stunning so I asked his heirs if I could take his voice and build a new track around it, and they said absolutely. I wasn't prepared for being in the studio with his voice. There was that wonderful tenor in the room, which will never be heard again, and there was this enormous responsibility of building a great track around it. Most of the musicians were tearing up because it was so emotional. Everybody loves this song and there's no one else who sounds like Jimi Jamison."
Jim on his writing process and approach to working with legendary artists:
"I'm blessed because I'm a fan of so many different kinds of music. We all start as fans, I don't care how much success you have, you've got to be a fan. When I was five-years-old it was Elvis, The Everly Brothers, and Chuck Berry. I absorbed all of those styles and loved them all, even into the horn era when Blood, Sweat and Tears reigned supreme. You can hear that being channeled on "Vehicle". I'm a bit of a chameleon and I can kind of do it all because I'm a fan of it all. Writing with 38 Special was a really cool pairing. They first came to my house in 1981 and the first song we wrote was "Hold on Loosely", which was a pretty good way to start (laughing).
It was like a blind date, I'm sitting there in my kitchen eating nachos that my wife made, with these guys that I don't know at all (laughing). I feel like if I can break the ice and become another member of the band while writing with them, then it all works out. Don Barnes had a title, he said, 'Hold on Loosely' and I said, 'Yeah, but don't let go,' and it just went from there. In about four hours time we had that song and sent a crappy demo of it to their manager. He listened and said, 'Well guys, you just got your first top ten'. I really try to bring out what each band is all about. I knew that they were southern rock and I also knew that they needed a commercial edge to make them accessible, so that's what I tried to do for them.
I was blessed to write with one of my heroes in 2012, Brian Wilson of The Beach Boys. We did "That's Why God Made the Radio" and it went to number two on Billboard for The Beach Boys. I'm a huge fan of theirs and always have been so it felt very natural to try and channel Brian. I felt like I was kind of reminding him of what made him so great. He was sitting at the piano just dorking around and I'd say, 'What's that! Let me turn the tape recorder on!' (laughing). I tried to capture some of the things that maybe he wasn't even aware of. He's a genius and just so good at everything that he does, that he almost doesn't realize how good it actually is. It was my job to capture the lightning in a bottle and that song is one of my proudest moments.
You've got to be an open channel to other people's ideas. It can't be an ego trip. You've got to be like an antenna picking up everything and that's just how great songs are written."
Jim on how the older he gets, the more he stays the same:
"Nothing has really changed for me and that's a good thing. I've always wanted to write songs that meant something to me and I never looked at the bottom line. The bottom line will come if enough people relate to your song. I just always wanted to write songs that I would want to buy. I still get excited when I wake up in the morning and maybe there's a goal or a band who is looking for a song. Right now I'm working with a group that I can't mention, but we're writing songs for their album and that's what wakes me up in the morning.
The performing still matters and it's certainly part of the puzzle for me. Like tonight, I'm doing a show with The Ides of March at an outdoor community college venue which holds about 6,000 people. That's a nice crowd and we're going to do our hits of course, but we're also going to do the stuff that I've written for 38 Special, Sammy Hagar, Survivor, and then three new songs from the new album. I gain so much from the live experience and the way people react. I can ride on the high of just one show for a couple of weeks. That feeling of inspiration or of having really connected with that audience, that really inspires me to keep going.
When I was a kid I was a worrywart. I mean I worried about tornadoes, hurricanes, getting cancer, just everything (laughing). Even if I was right with all of them, I was paying too much attention to the worries and once I found my calling and stepped on stage to play "Kansas City Here I Come" for the Talented Teen Search in my hometown, I wasn't worried. I would ride on the energy of a gig like that for two weeks and then the worries would come back, so I'd have to do another show (laughing). In a way, I'm still that kid and I need music to put that shit into remission."
Jim on what will fill his time these next few months:
"I'm always playing everything by ear (laughing), but this fall will bring a lot of Ides of Marchshows because that new record is coming out. Then starting in January, we're doing some World Stage shows. The bill has not been firmed up yet, but it's going to include at least some of the prime people on the new CD. We're thinking of videotaping the first show for a World Stage special. I also think there's going to be a video for another song on the album. I'm not yet sure which one or how big the budget will be (laughing). It may be a lyric video but hey, they're effective! Frontiers Records have been really good to us and if you had a hit in the 80's that Serafino (Perugino, Frontiers founder) loves, you're golden forever.
Just to have someone who still cares means a lot. Believe it or not, we rockers can get really down in the dumps after our glory days are behind us. Serafino is like a cheerleader because he reminds us of what we meant to people and that's worth a lot. Memories are such a big part of the sound print of a song. I have a jukebox in my house and I have it stacked with my favorite memories. When I hear Elvis Presley and I can almost put myself in my parents living room with my sisters there, music is like a time machine. If you love music then it's your own private time machine and one familiar song can just change the course of your entire day."
Check out Jim's official site for updates on everything he's doing, plus info on upcoming shows. Also, check out The Ides of March's official site. Don't forget to follow Jim on Facebook and Twitter too!
"I never thought it would happen. I feel quite the same."
When I was a kid, Saturday afternoon usually meant a trip to the mall in the next city. My mom was always ready to shop and my dad couldn't hit the record store fast enough. There was a shop near our house, but this place was massive and it eventually turned into a local chain of about 12 different stores. But long before The Gallery of Sound was doing in-store hair band signings and meet and greets with freestyle artists, they were all about the vinyl. They also had a string of tv's set up to watch MTV, something that our cable provider wasn't yet offering. So dad would spend two hours talking to all of the same people that he had talked to the week before, clutching his new issue of Billboard as if his life depended on it. That hasn't changed at least. Getting your hands on a newsstand copy of Billboard is fairly impossible because stores that do carry it usually get a maximum of three copies in.
Anyway, I loved Saturdays because they were rooted in music one way or another. The Soap Factory Disco, Soul Train and of course, American Bandstand were all included before we even left the house. It's strange how the little things really with me because those Saturday car rides really make me smile even now. My dad had a huge gold Buick Skylark that felt (and sounded) like it could drive thru a building and come out the other side. In the summer he would drive with all of the windows down and his stereo was bumping. I realize that car radios probably sucked back then but he was forever playing with speakers and things. All I know is that I could always feel the music coming from behind me.
I soaked up Hall & Oates, Aerosmith, Tom Jones and I'm pretty sure my love of Latin rhythms first started with an extra loud extended version of Barry Manilow's Copa. There were also a lot of other songs that I fell in love with like Toto's "99". Yeah, I know there has always been a debate over the lyrics and what the song is really about. The band has changed their story a few times just to continue to throw people off and truth be told, I could care less. I can remember traffic being at a stand still just a few miles from the mall on one afternoon and not carrying because "99" was playing behind me and I could actually feel the guitar and keys.
It's still a really beautiful piece of music to me. Check it out below.
There are very few things that I remember about the beginning of eleventh grade. It was 1987 and I was coming off my very first summer of working full time, which meant a lot of extra cash in my pocket. A lot of that cash was spent on music, of course. Richard Marx was getting airplay with "Don't Mean Nothing" which I really didn't love. But the follow-up single I couldn't get enough of. "Should've Known Better". And the video that went with it. Marx wasn't exactly my type at the time. I preferred men with bigger hair, lipstick, and spandex, but I played his debut album into the ground.
Many years later I'll readily admit to listening to Marx quite often and "Should've Known Better" is still my favorite. He has also aged like a fine wine and is far more handsome to me now than in 1987. Daisy Fuentes (his wife since Dec. 2015) is a lucky woman. Plus it's nice to see a celeb couple that genuinely seems happy together. Check out "Should've Known Better". below.
Latin freestyle seems to go hand in hand with Friday, at least in my mind. If Friday is really the day to celebrate the weekend ahead then that means club songs, freestyle and old school house music are the very best way to kick it all off. Let me take you back to 1988 when Betty Dee and her girls stepped out from the shadow of Expose` and The Cover Girls and made their own mark in the dance world.
Sweet Sensation had the hair, the clothes, and all the moves. But they seemed like the chicks down the street. This was the girl group that you really could have gone to school with or partied with. And their music rivaled other dance floor anthems. Songs like "Take It While It's Hot" and "Hooked On You" were featured on Open House Party and Dance Party USA, making the ladies a pretty hot commodity leading up to their number one single, "If Wishes Came True".
Betty Dee, Jenae Colon, and Belle Ritter reunited a few years ago and on any given weekend you're likely to find Sweet Sensation hitting the stage somewhere on the east coast. "Sincerely Yours" remains one of their most popular hits. Check out the video below.
Bananarama is easily one of the most popular girl groups of the 80's. Songs like "Cruel Summer", "Venus" and "I Heard A Rumor" kept them near the top of Billboard's Hot 100 charts for a few years in the mid-80's. Their True Confessions album from 1986 is probably one of my all-time favorite pop efforts from that era, with "ATrick of the Night" arguably being one of Bananarama's best songs ever. The album version is basically a ballad but when it was released in December of 1986 as a single extra synthesizer and vocals were added in to give it a dance feel.
"A Trick of the Night" was also included on the Jumpin' Jack Flash movie soundtrack. While the song kind of stalled out on the charts it is still considered by many to be one of the ladies' best songs, especially in retrospect. Do you guys remember this one?
I have to admit, Culture Club always kind of gets a little lost in my pile of 80's classics and I'm never really sure why. I've always been a Boy George fan and some of this groups' songs really are timeless. Then there are those that carry a personal time-stamp, like "Miss Me Blind". This takes me back to a Friday night in 1984 when it was pouring and we had just left a pizza parlor connected to our local mall. We stepped outside into the rain and a few thunderbolts later and my parents and I were taking cover inside of The Jean King- a store that was exactly like its' name implied.
As the rain poured down on the roof above, I was surrounded by racks of Jordache, Calvin Klein and Gloria Vanderbilt jeans. It was denim heaven. I'm pretty sure if I walked into that store today I'd be amazed by how small it actually was but on this particular night, it was divine. In my mind any good store also has great music playing and "Miss Me Blind" was always my favorite Culture Club song so obviously, the fact that it was on here only makes the memory sweeter. Check out the video below!
The video to Boy Meets Girl's "Waiting For a Star to Fall" was on tv this morning and while it's not a song that I often think of, it's one that drags me back to a point in time. This was one of those songs that you couldn't escape during the summer of 1988. It was on in the car. On in the grocery store. On in the mall. And, that was a good thing because it just made your life a bit better whenever you heard it. Great melody, great lyrics written and performed by a then-happily married couple. It was all good and whenever I heard the song I wanted a little piece of that "all good-ness".
The story behind "Waiting For a Star to Fall" is interesting because Shannon Rubicam and George Merrill originally wrote it and submitted it to Whitney Houston's people. They passed on it but Belinda Carlisle's people grabbed it up and literally made her record it. She hated the song and fought hard to keep it off of her album.
At that point, Rubicam and Merrill decided to record it themselves and then added it to their second Boy Meets Girl album. The result? A smash hit and the group's ONLY hit so in the end, they must have been glad that no one else ended up using their song.
Check out the video below. The little blonde girl is actually Rubicam and Merrill's daughter!
Those who came before me lived through their vocations
From the past until completion, they'll turn away no more And still I find it so hard to say what I need to say But I'm quite sure that you'll tell me just how I should feel today
Any idea what the most successful 12" single of all time is? That honor belongs to New Order's "Blue Monday", with its many reissues, remixes and dance club vibe. While it was first released in 1983 and became an underground dance hit, it was "Blue Monday's" reissue in 1988 that seemed to launch the song into orbit. Suddenly every DJ played it and we all loved it because it was different. The sound is totally unique and so rather than blending in with the house music that was taking over the late 80's, New Order's songs stood out in a good way.
"Blue Monday" has lived on since its 80's introduction because numerous artists have either sampled or covered the tune. I know that you've heard it often, but have you ever actually seen the video? Check it out below!
You gotta hold on" The late 80's music scene featured several pop girl groups. You had The Bangles, Expose, The Cover Girls, Sweet Sensation... all of them had radio and chart success but there was a formula to it. I don't think that anyone really anticipated the change that was coming when the calendar flipped and a new decade began. The 90's ushered in an era of New Jack Swing, slowjamz and R&B that was just amazing. Groups like TLC, SWV, and Xscape kept women front and center. En Vogue was a major player at the time. Dawn Robinson, Cindy Herron, Terry Ellis and Maxine Jones teamed up in 1989 and by 1990 they had a bonafide chart hit with "Hold On". It was completely different from everything else that was getting airplay and that's what grabbed my attention immediately. To me, this video and song kind of drew a line in the proverbial sand and from this point on women had to really step up their game in order to compete musically. Check out "Hold On" below. Do you think it was a game changer too?
Since Covid-19 has brought gigs to a screeching halt we are flashing back to some of the best of the best content here at DailyBOOM.
ICYMI
I think that most people believe that once you "make it" in the music industry you're sort of set for life if you handle your money properly. The actual truth is that the music business is at best, a harsh place to try and exist. You could be at the top of the charts and playing sold-out shows now and in six months you're back to waiting tables or washing dishes. The only solid guarantee is that every star eventually falls from the sky and then it takes talent, timing, and unshakable determination to get back up again. That's why I love to see a time-tested, old school band with a great catalog still selling out shows and Great White was doing exactly that before the world as we know it came to a screeching halt.
The band (Mark Kendall- lead guitar, Michael Lardie- rhythm guitar, multi-instrumentalist, Audie Desbrow- drums, Scott Snyder- bass, and Mitch Malloy- lead vocals) first found itself in heavy rotation on MTV back in the late-80's with songs like "Once Bitten, Twice Shy" and they never really looked back. Sure there have been some major bumps in the road. Among other things, people have come and gone (including lead singers), but Great White has not only survived, it also continues to thrive.
I had an opportunity to catch up with the Michael Lardie, the band's rhythm guitarist and multi-instrumentalist, who was in great spirits in spite of being pulled off the road due to the Covid-19 lockdown. Michael's kindness, intelligence, and positive energy flowed as we bounced through all sorts of topics. Check it out for yourself.
Photo: Ralph Arvesen
Michael Lardie on being under quarantine:
"We're closing in on six weeks inside now in California. When I'm normally at home I'm pretty low-key and usually working in my studio or something. I don't go out too much anyway unless it's to see a movie or grab dinner so it's not a really big change for me. Not having the option to do anything because of lockdown really mentally pushes you against a wall though. Every time I think of an errand to run it's followed by the thought, 'oh you can't do that or at least you shouldn't do that' so that's the primary change for me.
When being in the studio is your joy for the day, I think times like now can make you even more laser-focused. Like on a normal day I might want to work for a couple hours and maybe come up with an idea, now I'm finding myself demoing entire songs (laughing) so in that respect, it's a positive. Also, the guys and I are sending little voice notes of ideas back and forth too, just trying to stay focused on what it is that we do and part of that is writing new material. Right now I'm breathing, I'm healthy, I'm being smart and staying home. I'm finding the joy in being creative and at this point, I'll just go with it (laughing)."
Michael on Great White's plans for new music:
"Well, because of the way that people absorb music now, one of the thoughts that we've had is to put out smaller doses of music more frequently. Maybe putting out two or three songs at a time and then, in the end, we'll compile it all and make it into a product that our diehard fans can pick up. We've been in the model of making full records for our entire career so it's a little strange for us to be thinking outside of the box, but that may be how we need to do it now. One of the things that makes Great White the band that it is, is that we don't record separately and send files to each other. For us to be making music, whether it's a two or three-song EP or whatever, our best experience is always when we're in the same room actually cutting the track with all of us playing. When you're building a house the vibe is different when you're building it together rather than piecemeal and recording is the same for us.
There are five people that make a sound different from everyone else on the planet. Individually we sound a certain way but once we're all together there's this sound that is so familiar and feels so good that it inspires us to keep performing. You want to keep making that sound with that particular group of people. The vibe is always far stronger when we're all in the same room. It's going to be interesting for us to actually do that again when we're able to schedule real-life things. We're looking forward to it because the best things happen for us musically when we're together as a band."
Michael on how the band has remained successful even with three different lead singers:
"When I was first coming up older people would always say to me songs, songs, songs. That is what is most important because a band's catalog will define its longevity. In that respect, I'm very proud of the material that we've come up with over the years and that material has allowed us to continue even with different singers. We've had three very different sounding singers and no matter who you put in there it has worked because of the strength of the material. Mitch (Malloy) has worked out great for us. Sonically he is a little more like Jack (Russell) than Terry Ilous was and I think people are getting it now. Every time you make a change there's an adjustment period but as people have heard Mitch sing the songs and watched his performances I think they've started to really embrace him. We've had really great attendance before everything shut down, I think five out of our last eight shows were sold out and that just makes us really grateful. Again, it's all because of the strength of the music and the catalog of songs that we've created."
Michael on the band's writing process:
"It's interesting because back in the day we would be sitting in a rehearsal room bouncing riffs off of each other and figuring out the arrangement- that's one way that we did it. As time went on and we started to have different rigs at home we've been able to come up with parts of songs and share them, so it's kind of done in the same way from remote now. We rely on each other to remind us of how we sound at our personal best and things often come to us in pieces. "Rock Me" for example, was a guitar riff that Mark had and when we sat down and started to mess around with it before you knew it we had this great song. One of the best things about the band is how we really look forward to each others' input to make that special sound that I was talking about earlier.
So many songs have come at the last minute too, like the day before you go to the studio or the first few days that we're there. "All Over Now" is the last thing that we wrote for Once Bitten and "Mista Bone" was the last thing that we wrote for Twice Shy. There's always inspiration in the end because you're in the vibe of pre-production and running through stuff and you're playing like a band every single day. When you're playing off each other that much just jamming can turn into something so now we try to leave that space open at the very end. Good stuff comes up when you're working together day after day."
Great White
Photo: Neil Zlozower
Michael on what keeps that desire to play live burning:
"The joy of playing music with other people and making our particular sound is one of the bullet point reasons that always comes back to me. Everything for us is fly dates now which can be challenging at times and it makes you a little sleep deficient. But the upside to that is that you may leave on Thursday and then play all weekend, come back on Sunday and it gives you three or four days to have some semblance of a normal life. So I get to do the thing that I still love the most and then enjoy that normalcy.
One of the other things that I think of while playing a song is that this group of people has never been together before. This exact show has never happened even though there are fans that have come and seen us on multiple occasions over the years, at that moment that group of people has never been 100% present together. We're still playing 100% live so no matter how you feel you've got the challenge of making it sound as great as you can every single time you go out. Those things make it fresh for us in the moment.
Getting people to smile back at you when you're up there doing this thing that you love is always amazing to me. When you get that energy back it's just amazing and when you see little kids out there on their dad's or grand dad's shoulders singing along to "Rock Me" it's really something. The multigenerational thing always gets me because it's incredible to think that our music is what these parents saw fit to pass down to their kids. One of the greatest compliments that we can get as songwriters and performers is to have our music go from generation to generation. When I think back to when we were young we just hoped that what we did would somehow make some small difference that could maybe even live on. Having it be passed on from one generation to the next is the highest compliment we can get.
It still blows my mind when I'll be driving in my car and "House of Broken Love" comes on (laughing). We didn't think all that much when we were creating it but when I hear it I can still put myself in a time capsule and zap myself back to the very moment we were doing it. The very moment that I kept Mark in his seat for ten hours doing all of the soloing on that track and the fact that his fingers were bleeding by the time it was done. I can remember every aspect of that. It's amazing how you can hear a song and all of a sudden you're transported back to the beach in 1989, nothing is a better time machine than music."
Michael on other projects that have kept him busy:
"Last year I mixed a live performance of Sheryl Crow's from the Capitol Theatre in NY that was released in the fall. That kind of project would be perfect for me to have right now (laughing). It was an eight hour a day thing, 22 songs, and I had to mix it in surround so it was just awesome. I'm a fan of hers so it was like a gift, just a complete joy to do. Something like that would be perfect for right now and you never know something could come along.
In the meantime, I've been working on material of my own that someday I'll finish up and put out there. I've never really set a timeline for it I'll just know when it's the right time to share it with the world. It's also good because if I'm stuck on something for Great White I'll flip over to my own thing and find the joy in doing that, which frees my brain. Then when I look at the Great White stuff again I'll find a way around that wall that I felt like I kept hitting."
Mitch Malloy, Mark Kendall & Michael Lardie
Photo: Eric Sherman
Michael on what's next for Great White:
"So far most of May and early June dates are postponed but we're actually really lucky because we've only completely lost one show. It was part of a summer series and they weren't able to push it to another date because the whole season has already been booked but we're lucky because about thirty other shows have been rescheduled for later in the year. We're grateful because so far we're still holding on to shows and not only that but the other day we booked a new one for November. So somewhere out there at least one person is still scheduling new gigs (laughing).
We're hoping to get back out there in the late summer or early fall and be able to finish out our year safely. Having the ability to perform taken away has made me just a little more inspired, so if I was thinking even a tiny bit about maybe wrapping this all up in a few years, this time off has energized me. Now I think I'm just going to keep on doing this music thing until it doesn't make sense anymore. Knowing that we will have the opportunity to do this again after this lockdown ends is really something. When the first level of success happened when we were younger I appreciated it but now I have the intelligence and experience to really appreciate it so much more. Grateful doesn't really even begin to describe how I feel right now."
Check out Great White's Official Site for updated tour dates, news & more!
"I always love a little mystery But now the tensions killing me No place left for words to hide I never thought it could be quite so tough Lips once sealed are splitting up There ain't no secrets to outshine, father time."
I can remember walking into a Listening Booth store in the middle of my local mall and flipping through their one rack of 12" dance mixes of freestyle/house music and finding a copy of A'Me Lorain's "Whole Wide World". I bought that and a copy of Lisette Melendez's "Together Forever" and felt like I hit the music lottery. Back in 1990, in the middle of suburban Pennsylvania, club music was a novelty rather than a standard. I was 90 minutes from Philly, two hours from NYC and basically just far enough out for stores not to carry a whole lot of dance stuff.
I was still glued to Dance Party USA and my friends from the series so I knew what was popping in the clubs. I found a way to get my hands on Judy Torres and Coro even if I had to order it. But A'Me Lorain was an unexpected find and I played this record into the ground. She is still around, in case you were wondering. She dropped a dance track last spring that didn't do much chart-wise, in spite of getting a bit of club play. You can check it out here.
"Baby tell me does she love you like the way I love you Does she stimulate you, attract and captivate you Tell me does she miss you existing just to kiss you Like the way I do Tell me does she want you, infatuate and haunt you Does she know just how to shock and electrify and rock you Does she inject you, seduce you and affect you Like the way I do Like the way I do"
Years before Melissa Etheridge became an Indie rock darling of the 90's she made some serious moves as a rocker. When her self-titled first album was released back in 1988 it featured a song called "Like The Way I Do". It never charted well on Billboard's Hot 100 but it did really well on the modern rock charts. It also was in heavy rotation on rock stations across the U.S. In between Warrant and Kix you were quite likely to hear Etheridge's "Like The Way I Do" or "Similar Features" being played to break up the hairband predictability.
Check out the video for "Like The Way I Do" below!
No money man can win my love It's sweetness that I'm thinking of. We always hang in a Buffalo Stance We do the dive every time we dance I'll give you love baby not romance I'll make a move nothing left to chance So don't you get fresh with me
Neneh Cherry first hit on MTV at a time when other ladies like Queen Latifah and Monie Love were blowing up. Girl groups like JJ Fad and Salt N' Pepa had already proved that women were good for a lot more than just syrupy ballads and viewers really seemed to dig this new wave of ladies. Cherry was born in the states but raised in Sweden beside an incredibly musical family. That probably explains why her talent has spanned singing, rapping and even spoken word. She's an artist that has been far more motivated by creativity than the all mighty dollar since first appearing in 1988.
"Buffalo Stance" was the first single by Cherry to find itself in heavy rotation on MTV. It was written about the group of friends that she ran with back in the day and a former boyfriend, Che' is heavily referenced. In the end she dumped him because she thought that he was too materialistic. One interesting nugget is that the spoken word portion of this song is actually ripped from a love letter that Che' wrote to Cherry before their split!
Check out "Buffalo Stance" below. Do you remember it?
I have to admit, I had completely forgotten about Lisa Fisher's "How Can I Ease The Pain" until MTV Classic played it's stunning video the other day. Whatever I was doing at the time, I stopped to watch every second of it. This is easily one of the very best ballads of the '90s. When it was released back in 1991 Fisher kind of skyrocketed to success. She was the IT girl and was expected to follow "How Can I Ease The Pain" with years of equally gut-wrenching ballads. Her Grammy win for the track only reinforced that notion.
So where has Fisher been for the last 25 years? The answer is everywhere. She has toured, dueted, and provided backing vocals for Tina Turner, The Rolling Stones, Patti Labelle, Chaka Khan... you get the idea. She also does tour on her own and sounds even better live. Few songs from the '90s connect with heartbreak quite like "How Can I Ease The Pain".
"You take your road, I'll take mine The paths have both been beaten Searchin' for a change of pace Love needs to be sweetened I scream my heart out, just to make a dime And with that dime I bought your love But now I've changed my mind I'm not your fool Nobody's fool Nobody's fool I'm no fool"
Here's a nugget for all of you glam rock fans out there. Cinderella's debut album, Night Songs is more than 30 years old. THIRTY! Does that make you feel as old as it makes me feel? I'd say that Cinderella spent a few their early year's lost in a sea of fellow headbangers but when I looked back, they actually did chart pretty well. They were also innovative in that all of their first videos had a continuing storyline.
In their first video, "Shake Me" a Cinderella-type girl was transformed into a bad girl that hung with the band. Her wicked sisters (AKA the polka dot twins) were always nearby. "Nobody's Fool" picks up the story with Cinderella heading to practice with the guys but then leaving in order to make it home by midnight.
"Nobody's Fool" ended up being a really popular power ballad, with tons of radio play. MTV also had the video for it on an every four-hour loop for months. In an era where power ballads by glam rockers were everywhere, this song probably lands in my top five or six.
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