With a career that spans five decades and includes upwards of one-hundred-million in record sales, multiple Grammy and Brit award nominations as well as the grit and ubiquitous influence of her vocal on songs like “It’s A Heartache,” “Total Eclipse of The Heart,” and “Holding Out For A Hero,” Bonnie Tyler has secured her place as one of the biggest artists in music history.
Now, the indomitable Welsh songstress is set to release her brand-new studio album, The Best is Yet To Come. A twelve-song collection that reunites Tyler with producer David Mackay and features songs from heavyweight writers like Steve Womack and Desmond Child.
Notable songs from the album including “When The Lights Go Down” and “Dreams Are Not Enough,” conjure up memories of a simpler time, while tracks like “Stronger Than A Man” and “Call Me Thunder,” are infectious female-empowering anthems. The album also features Tyler’s infectious takes on Donovan’s “Catch The Wind” and 10cc’s “I’m Not In Love.”
The Best Is Yet To Come can easily be described as one of Tyler’s best. An uplifting, musical jaunt that takes her unique sound, passion and energy and moves it well into the 21st century.
I recently spoke with Bonnie Tyler about The Best Is Yet To Come and more in this exclusive new interview.
How would you describe the new album in terms of its sound and maybe how it relates to some of your previous work?
Bonnie Tyler:It’s uplifting, energetic and, in many ways, feels like a young album. I had such a joy making it and working with David Mackay again. He’s the guy who started off my career in the beginning with “It’s A Heartache” back in 1978. The songwriters I’ve got, like Steve Womack and Desmond Child, are amazing. Steve’s tracks are very much in the vein of Bruce Springsteen and Rod Stewart. I’ve also got backing vocals by Miriam Stockley. Her credits for other artists is huge. It’s a great complement to have her on the album.
What can you tell me about the first single, “When The Lights Go Down?”
I love that song. Just the idea of being on the back porch with the radio on and dancing real slow. It keeps the spirits high and makes me think of things my mother and father had to go through when they were younger. They had a hard time but it’s things like this that pull you together in so many ways.
Read the rest of my
Interview with Bonnie Tyler by Clicking Here.
Following his unexpected death last October, the family of Tony Lewis, lead singer and bassist of the 1980s rock band The Outfield, as well as accomplished solo artist, posthumously released his sublime new EP, More Than I Dared.
The EP follows Lewis’ acclaimed debut solo album, 2018’s Out Of The Darkness, and is rich with the spirit of The Outfield; particularly on songs like the hook-laden “Gonna Make You Love Me,” and “I Feel Alive.” Other highlights from More Than I Dared include the guitar-driven “One By One,” and the colorful “Then There Was You.” The latter of which an intriguing departure from Lewis’ signature style.
There’s a magical element to More Than I Dared that’s undeniable. A showcase of elements in Lewis’ musical arsenal as songwriter, producer and multi-instrumentalist. With music by Lewis and lyrics contributed by his wife, Carol, More That I Dared is a welcome treat for fans and a fitting honor to the legacy of a man who’s music will live on for generations to come.
100% of net proceeds from the initial release of More Than I Dared will be donated to MusiCares, an organization Lewis was very fond of.
The Outfield [which also featured Lewis’ friend and longtime collaborator, John Spinks, who passed in 2014] took the 80s by storm with their 1985 debut, Play Deep, and songs like “Your Love,” “All The Love,” and “Say It Isn’t So.” More than thirty-five years later, “Your Love” and Lewis’ signature vocal opener: “Josie’s on a vacation far away…” continues to be featured in compilation albums and commercials as well as streamed nearly a million times a week.
I recently spoke with Carol Lewis about More Than I Dared, Tony, The Outfield and more in this exclusive new interview.
What inspired the new EP?
CarolLewis:The EP was inspired by Tony’s newfound solo career. He wanted to show that he had grown in confidence as a composer and producer and was keen to show another side to his talent.
How would you describe More Than I Dared in terms of its sound and how it relates to some of Tony’s previous solo work or with The Outfield?
Carol Lewis: A lot of people thought Tony just sung the songs but he was so much more than just a vocalist. He was a very accomplished musician who could play lots of instruments. He had a vision of how he wanted to sound, and although there would always be Outfield influences he wanted to add a different dimension to show where his own personal influences and style came through.
What was the songwriting process like for the two of you?
CL:Tony was always producing backing tracks and working on new ideas. He would sometimes spend all day in his studio and then play them for me. Then I would ask him what he was trying to say, and he’d say something like: “I have no idea, but it should go something like this….” Then he’d sing me something that made no sense. So I’d sit and think about scenarios from life and words would generally follow. The best time for me was while I was out running. It gave me clarity to make sense of things and what he wanted to say.
Thirty years ago I had an epiphany. It was March of 1990 and I was in the middle of my second semester at West Chester University. My goal at the time was to major in education and, eventually, go on to teach young, impressionable minds about the only subjects I truly cared about: guitar and music.
Before we go any further, allow me to give you a little back story:
I had already graduated high school three years prior to this revelation but things didn’t turn out the way that I planned. Don’t get me wrong, I still loved music, but back then all I wanted to do was be the next Eddie Van-Halen. I knew that was something that wasn’t going to hapen overnight, so I decided to enroll at Penn State University in the Fall of 1987 as a music major.
I had no money set aside for school and my parents, who’d recently divorced, had no means of helping to fund my education either. So I applied for grants and took out loans. Quite a few loans if you really want to know. I was told at the time I wouldn’t have to worry about paying them back, at least not until six months after I’d finished school. It was almost too good to be true. I’d be rich and famous by then.
Most of my tuition for that first semester was covered by loans, and the people at the bank were kind enough to give me plenty of extra money as well. Checks made out to James Wood rolled into the bursar’s office faster than cars at a Chik-fil-A drive-thru, and every day I’d sneak down to the office in between classes to see if another one had arrived. Ones that were supposed to be set aside for schooling but instead I used to buy important things, like guitars and amps and treating my friends to coffee and cheese french fries at the local Perkins. I went to school three times a week, didn’t have to work and the money continued to roll in. I was living the life, or so I thought. Don’t believe me? Here’s an entry from a journal I kept back in 1987:
By November, I was getting pretty tired of going to school. I just wanted to rock, and there was no one who could tell me otherwise or point me in the right direction. I dropped out of Penn State and spent most of 1988 working odd jobs while trying and failing, often miserably, at starting a band.
One day I received a letter in the mail informing me that, since I was no longer enrolled in college, the funds from my student loans would have to be repaid. The bill had come due. Not just for all the classes I dropped, but for all those guitars, amps and five-star meals I’d consumed. I needed a way out and fast.
I decided to attend the local community college with an emphasis on music education and an eventual transfer to West Chester University. This worked out well for me in two ways: First, it put the money I already owed on the back burner again. Second, and even more importantly, it allowed me to continue to take out more loans for tuition while pocketing the rest. By August of 1999 and my first semester at West Chester, I was already looking at some serious debt, and I was not even twenty-years-old.
“This is going to be worth it,” I assured myself.
Which leads me back to the ephipany of 1990 and to when I’d once again pretty much given up on college. Sure, I was going through the motions, but I wasn’t paying attention in class and was driving home almost every weekend. One day two of my roomates who, unlike me, had just finished studying, asked if I wanted to join them for a night out. When I reached into my pocket to see what funds were available, I fished out a single dollar bill and thirty-seven cents worth of loose change. It was all the money I had to my name. I reluctanly told them I’d have to pass.
That’s when I had the epiphany. Even though I’d given it the old college try, school just wasn’t going to be for me. I had to face the inevitable and do the one thing I hated most in life….. find and keep a job.
I decided to drop out of West Chester. Well, let me rephrase that, I didn’t actually drop out of school. I abandonded it. Yep, I packed my things, drove home and never went back. Eventually received the report card stating I had received all “F’s,” save for an English II course where the instructor was kind enough to put down a WP (withdrawl passing) for me. I would wind up spending the next ten years slowly making payments on my loan while working as a garbage man and pharmacy technician. I did try going back to community college in the mid-nineties and, although grateful my loan payments were again put on hiatus, once again never finished more than just a few courses.
Around the turn of the century (still blows my mind to say that) I decided to change careers and enrolled at the now defunct Allentown Business School where I received a quick diploma in Information Technology and have spent the better part of the last twenty years resetting passwords. Yes, I do a LOT more than that but don’t want to bore you with tech stuff. It took more than a dozen years but I even managed to pay back every penny I owed in student loans.
Recently, I had another epiphany. My daughter, now a high school graduate herself, enrolled at the same community college I attended. As I looked over her schedule it got me thinking about all the classes I’d taken over the years and how much I’d left on the table. All the money I spent on education, guitars and meals that went absolutely nowhere. Having not thought about such things for the longest time, I decided to find out what classes I had.
I started by logging onto the community college’s website and viewed my transcript. I was suprised to find that I had accumulated 51 credits in subjects ranging in everything from psychology and music to French and philosophy. This led me to check West Chester’s website where I discovered more than a dozen more I’d earned.
With newfound curiosity I decided to reach out to an advisor at the community college to see what this hodgepodge of classes might get me in terms of a degree… any degree… and how fast it could get me there. After reviewing everything I’d given her, the woman I spoke with told me that if I took an environmental science course over the winter and four other courses in Spring (English II, Developmental Psychology, Environmental Sustainability and Nature of Mathematics) I would earn an Associate in Arts Degree in General Studies and graduate in May of 2021. What’s more, all of the required courses could be taken completely online at my convenience, so it wouldn’t interfere with my current job.
So, guess what I’m doing after more than thirty years? …. I’m going back to school. It is an idea as frightening as it is thrilling.
What do I intend to do with this degree? I’m so glad you asked. Because that was the same thing the advisor wanted to know when I told her I wanted one as quickly as possible.
Initially, she asked me what prompted a 51-year-old man to consider a career change, noting that my answer would be crucial in determining which courses I should enroll in.
“If your goal is to move on to a four-year college and become a teacher,” she said, “you’ll definitely want to make sure you cover your education requirements.”
“I have no intention of becoming a teacher or even changing careers,” I told her. “I enjoy what I do.”
“Then why would you want to get a degree at this stage of your life?” she asked, curiously.
I thought about high school and the three colleges I attended. The classes I took, the guitars I bought, the meals I ate and the loans that were now long paid off. I was grateful to finally be in a position where I wouldn’t have to worry about taking out any more of them. Then I smiled.
I know, it probably has been for you as well. But my streak of bad started way before the corona virus and debating the usefulness of masks while hating each other. For me, the black cloud hovering over my head began last October when I lost my beloved dog, Doodle, three days before I turned 50. That single event set the wheels of gloom in motion.
It really began in early March of this year when my mother suffered a fatal stroke and, a week later, the Covid-19 lockdown officially began. I do writing on the side and was grateful to be able to continue to work from home with my real job in IT.
Unfortunately, one month after quarantine began, I was told that my position had been eliminated, effective immediately. My company offered to pay me until the end of the month. This was contingent upon them overnighting all the things at my desk along with a box for me to return my laptop and other company equipment.
I used those two weeks to secure a contract position at another company. The bummer of it was, the new job didn’t start for eighteen days and there would be no pay coming in. So, like thousands of other people, I applied for unemployment benefits to fill the gap and was accepted. I won’t go into great detail about my experience with the Department of Unemployment other than to say that as of this writing, I still have not received one single penny for the two-weeks unemployment they owe me. I tried calling, emailing, voicemails… all met with constant busy signals or completely ignored. I had to dig into savings in order to pay bills. The fact they still owe me for two-weeks unemployment is unsettling, but I cannot even begin to imagine what it must be like for others who are going through a similar process and still haven’t found a job.
Just when I thought there might be a break in the storm, this past week I had to say goodbye to another one of my dogs. Ginger Snap, a senior pup we adopted after she was rescued from a kill shelter in 2011, and who had spent the next four years living a life filled with love and luxury, told me it was time. She had been diagnosed with Cushing’s Disease a few weeks ago and I was giving her medication that was supposed to alleviate the symptoms that were ruining her quality of life. I came downstairs on Saturday morning to find her unable to get up. It will take me a long time to get over the thought that I failed her.
So, during a period of ten months, I’ve not only become mired in this pandemic but also lost my mother, two dogs and my job. Which kind of leads me to the title of this post – The Silver Lining.
The day after Ginger went to the rainbow bridge, I went to visit my brother, who had lived with my mom in the house we all grew up in. He had recently installed windows in places of the house where none previously existed. I marveled at the sun, gleaming through the new windows and showering the space that was once our childhood bedroom in bright, summer light.
As I admired his work, he mentioned how he should’ve installed the windows twenty-five years ago and how he wished our mom would’ve been alive to see them. I agreed.
After I left the house to go home, I walked past the huge blue spruce tree lumbering in the yard. Its towering branches reaching high to the heavens like it had always done even before I was born. I suddenly remembered how deathly afraid I was of that tree as a child, and how I would often have nightmares about it coming out of the ground at its roots to get me.
I decided I wanted to have a piece of that big tree to stick in my curio cabinet at home. It’s a place where I keep all of my childhood knickknacks of times gone by. I bravely reached for a low hanging limb and plucked off a tiny piece of branch. I held the small stem to my nose and breathed deeply, inhaling the faint scent of pine from something that forty-five years ago scared the living shit out of me.
That night as a lay in bed, I had a dream that I was back at my brother’s house. I can’t recall all the details, but I remember my brother and I were standing in the kitchen talking about something when in walked my mom. In the dream, she looked exactly as she did as when I was a boy, but in my heart, I knew she had died. You would think that I would be terrified at the sight of a ghost, but I wasn’t afraid to see her at all. Instead, there was something I wanted to know.
“Are you all right?” I asked. Meaning, is it ok when you die.
She nodded her head. “Yeah, I’m fine,” she said. “Everything is ok.”
The dream quietly transitioned into something else I can’t remember, but that revelation of seeing her still haunts me. It’s been years since I’d dreamt about my mother, and even when I did there was never a conversation that felt so visceral.
I’m not sure if what I experienced was the culmination of visiting my brother and all the things that have been happening to me in 2020, or that my mother really was trying to tell me that everything is going to be all right.
But if I had to make a choice, I like to think that it was the latter.
Fee Waybill Rides Again is the legendary Tubes frontman’s first album of solo material in nearly fourteen years and a compilation seven years in the making. Together with longtime collaborator and producer Richard Marx, the duo’s vision of creating a raucous, guitar-driven album has become one that’s both deep in variety and universal appeal.
Led off with the infectious lick of “Faker,” the album combines well-crafted songs and tight musicianship with Waybill’s ubiquitous vocal, which sounds better than ever.
Other standouts on Fee Waybill Rides Again include the hard-charging “Promise Land,” the groovy and hook-laden, “Meant To Be Alone”, and the crossover country vibe on the track, “Still You On The Inside.” A song written by Marx and Nickelback’s Chad Kroeger that was originally intended for Chris Daughtry. Featured guests on the new album include guitarists Michael Landau and Matt Scannell of Vertical Horizon along with bassists Jason Blynn and Whynot Jansveld.
For longtime fans of classic rock and The Tubes, this seven years in the making album was certainly worth the wait.
I recently spoke with Waybill about his new album and more in this exclusive new interview.
Can you give me a little background of how this new album came about?
Fee Waybill:Richard [Marx] and I have been friends since 1983, when I met him at a Tubes session. Every summer he and I and his boys would take a vacation to his cabin in Wisconsin. About six years ago we decided to use that time to go into the studio and recorded the song “Faker.” That was when we first came up with the idea of doing another solo record. We wound up doing three other songs during that time, “Woulda Coulda Shoulda,” “Promise Land,” and “How Dare You.” Then life reared its ugly head and we didn’t do another track for almost six years.
Six years seems like a long time in between sessions.
FW:It was, but about a year and a half ago we decided to revisit the album and went back through the archives of songs we had written over the years. We found the track “Say Goodbye,” which we had originally intended to use for one of Richard’s albums. Every time I listened to it I realized what a great song it was and wanted to add it to the list.
The Go-Go’s Documentary, directed by Alison Ellwood, whose other work includes the Emmy-winning History of the Eagles, chronicles the band’s meteoric rise from the LA punk scene to the world of superstardom.
With rare photos, live footage and shocking revelations, fans will discover the grit and determination behind the band’s early years in the clubs as well as their tumultuous UK tour with The Specials and Madness before returning to the States and becoming the first, and only, all-female band to play their own instruments, write their own songs and have a number 1 album.
The new documentary, which also features candid interviews with both current and former members as well as management, also includes the new song, Club Zero, the first new Go-Go’s recording in nearly 20 years.
Guitar World recently spoke with The Go-Go’s Belinda Carlisle, Charlotte Caffey, Kathy Valentine and Gina Schock about the new documentary in this new interview.
How did this documentary come to fruition?
Charlotte Caffey: “We were approached by Alison Ellwood about the idea of doing a documentary. At first, we were a bit nervous because we didn’t want it come across as a salacious ‘behind the music’ kind of thing. Alison did such a great job. It really puts perspective on things. ”
Kathy Valentine: “The documentary gave us a chance to get something out that was a more complete narrative than what was already in the public eye. The band coming out of the L.A. punk rock scene is something that not everyone is aware of.
“Alison and her team compiled all of this fabulous filmed footage. It was challenging but it’s a testament to her skills as a director in putting together an interesting and exciting story.”
Belinda Carlisle: “A documentary is a heavy thing to commit to because your story is cemented forever. It took a while for us to put our trust into Alison but we’re so glad that we did.
“For a person who thinks The Go-Go’s are these sweet girls who wrote candy flavored pop songs, our history is going to be a surprise.”
Who would have thought how much could change in a thirty three years? To think that at the time since I received my high school diploma in June of 1987 the world has become such different place.
I’ll be honest, when this picture was taken I figured it would probably only be a year before I’d be on the cover of Rolling Stone magazine, talking about my band’s debut album and world tour with Def Leppard. I had high hopes and wasn’t going to let anything stand in my way.
Thirty-three years ago the only thing I wanted to do was rock. I’m serious. I mean that’s ALL I wanted to do. I really didn’t want to go to college, and I sure as hell had no interest in doing anything that resembled actual work.
On the contrary, my days were usually spent sleeping til around noon, noodling on my guitar and mooching money off of my mom and grandmother for such things as gas for my car and coffee and cheese fries at Perkins. After all, a man’s gotta eat, right?
“Borrowing” money from them soon began to get old and my options for disposable funds was starting to run out. I was worried that I might be completely broke before fame came knocking at the door.
What to do?
It wasn’t until I discovered that student loans were readily available that I began to have second thoughts about going to college. I mean, who wouldn’t want some free money? Money you wouldn’t have to pay back until after you graduated college!! Hell, that could take YEARS!! I quickly signed the first promissory note I saw and still have vivid memories of running down to the bursar’s office every day at Penn State Allentown to see if there was a big check for me. And what did I do with this windfall of cash you ask? The money I was supposed to use for books and tuition? I bought a guitar and amp and wound up dropping out.
This cycle inevitably repeated itself over the next few years as I applied to community college and eventually, West Chester University. I discovered that as long as I was enrolled in school I was “off the hook” as far as paying back the money. At least in the short-term. It wasn’t until I woke up one morning in my dorm, dug into my pockets and realized I had $1.37 to my name that I had an epiphany. I couldn’t keep doing what I was doing. Here I was, twenty years old with $1.37 to my name and nothing more. The friends I’d graduated with were now halfway done with college and most were well on their way to bigger and better things. It was my wake up call. Rock and Roll would have to wait.
On May 29th, 1990 (thirty years ago as of this writing), I started working full time on the 4-12:30 am shift as the head garbage man at Easton Hospital. That’s right, I literally started at the very bottom. Any gum wrapper, cigarette butt or operating room bio hazardous waste was handled by me. I hated it with a passion. They even fucked up and spelled my name wrong in the company newsletter. Despite all of my self-doubt and embarrassment of being a garbage man, something inside kept me going. I knew better days were ahead.
A year later, a position opened up in the pharmacy. It was a 2:30-11pm shift but was the perfect chance for me to get out of garbage. I worked that position for eight years.
Eventually, I made the decision to go back to school and get my degree in computers, married, bought a home and became the father of a beautiful daughter. It took me fifteen years but I eventually paid back every cent of my student loan debt.
Perhaps the best thing of all was that my own rock star dream didn’t die. I now live it vicariously through my writing. The point being, we can do anything we want to do. Be anything we want to be. We just need to make a plan and do what it takes to get there.
As I look back on this picture, three decades after it was taken, I see someone who had big dreams. And someone who, thirty-three years later, found a way to make them come true.
Back in 1989 a behind the scenes group of renowned songwriters and studio musicians, Frank Musker (Queen, The Babys, Air Supply), Elizabeth Lamers (John Denver, Linda Ronstadt, Christopher Cross), Jeff Hull (Brenda Russell, Heart, Chaka Kahn) and Marty Walsh (Donna Summer, Eddie Money, Sheena Easton), decided to get together to record an album. The result was World Goes Round, a powerful collection of pop, inspiration and creativity.
As artists who, at the time, were also heavily involved on other projects, the album was eventually shelved and would reamin unheard for more than thirty years. It wasn’t until guitarist, Marty Walsh, found a cassette tape of the tracks in his basement that the music of World Goes Round is finally seeing the light of day.
The ten-track album, produced by Tommy Vicari (Prince, Billy Idol) and fueled by the infectious lead single, “Big House,” was digitally transferred using 21st century technology. A product of its era conceived in a pressure free setting, World Goes Round sounds as fresh and relevant now as it did more than three decades ago.
I recently spoke with Frank Musker and Jeff Hull about uncovering the World Goes Round time capsule and more in this exclusive new interview.
How did the music of World Goes Round finally see the light of day after all this time?
Jeff Hull: It was when our guitar player, Marty, found the cassette in his basement, listened to some of the tracks and then sent them to everyone. It’d been thirty years since any of us has heard it. What’s interesting is that we weren’t able to find the original multi-track of the recordings. So, we went in and remastered from cassette. We were amazed at how good it sounded.
How did World Goes Round originally come together?
Frank Rusker: I had a house and studio in Laurel Canyon where we would have sessions and worked with A-list players. I was in a relationship with Elizabeth at the time and we were always making music. Elizabeth had been working with Marty Walsh and we were always letting other people use the studio as well. One day, I heard Jeff playing and knew right away I wanted to put him in my orbit. We were all having a lot of success individually but not really making the records we wanted to make. We didn’t have an impetus of creating a working band. We just wanted to make an album that would satisfy our need of depth and personality. When I listen to these songs now, all these years later, they still sound amazing.
Read the rest of my
Interview with Frank Musker & Jeff Hull Here.
Legendary Runaways vocalist Cherie Currie describes her new album, Blvds of Splendor, as the record she wish she’d made when she was signed to Capitol Records in the early 1980’s, and for good reason. The album, nearly ten years in the making and produced by veteran drummer/author/ entrepreneur Matt Sorum (The Cult, Velvet Revolver, ex-Guns N’ Roses), is a pure cornucopia of musical goodness spotlighting Currie’s monstrous vocal prowess.
From the album’s high-energy opening track, “Mr. X,” a track originally slated for Velvet Revolver and featuring Slash and Duff McKagan, to the more haunting sounds of “Blvds of Splendor,” a song with a subtle vibe written as a duet and performed with Billy Corgan [Smashing Pumpkins]. Other tracks from the album, like the groove-ridden “Black Magic,” the bluesey “Roxy Roller,” and the apropos “Force To Be Reckoned With,” also demand repeated listenings.
One of the biggest highlights of Blvds of Splendor has got to be the modern remake of The Runaways hit, “Queens of Noise,” where Currie is joined on vocals by Brody Dalle, The Veronicas and Juliette Lewis. Drummer Matt Sorum also pays homage to the band’s late member, Sandy West, by contributing a masterful performance in West’s signature style.
Runaways fans have waited a long time to hear this rock icon do what she does best and will certainly find a lot to like with Blvds Of Splendor. But more importantly, the new album proves that forty-five years after she became the lead singer of the all-female teenage rock band, Currie is still at the top of her game.
I recently spoke with Cherie Currie and Matt Sorum about the new album and much more in this exclusive new interview.
This album has been many years in the making. Can you tell me a little bit about the journey of Blvds of Splendor?
Cherie Currie: About ten years ago Matt reached out about having me do some backgrounds on a project he was working on. I was busy at the time with the movie [“The Runaways”] but later reached out to him about putting together a band when I was opening for Joan [Jett] at the Pacific Amphitheatre. Matt told me he would do it and it was so well received that we wound up getting offered a contract by Joan’s record company. Over the years we thought about recording and releasing the album but something always came up. Now is the perfect time. This is the record I’ve always wanted to make.
Read the rest of my
Interview with Cherie Currie & Matt Sorum Here.
Originally intended to be part of double-compilation called Blood Red Viral Black, The Alarm’s infectious new album, Sigma acts as the sequel to 2018’s critically-acclaimed Equals and features contributions from such musical giants as original Alarm guitarist Dave Sharp and Billy Duffy from The Cult.
Sigma, as well as its predecessor, mark a creative change for Peters, who crafted most of the songs from lyrics he’d written while he and his wife, Jules, were going through cancer treatment. The result is a second volume of material fueled by heartfelt emotion, angst, and revelation.
In addition to the new album The Alarm will soon embark on one of summer’s most highly-anticipated tours, where the alternative British rockers will join post-punk auteurs Modern English and the charismatic Jay Aston’s Gene Loves Jezebel on what’s being hailed as The Sigma LXXXV Tour.
Peters’ Love Hope Strength charity will also host bone marrow drives at each concert aimed at finding finding donors for people suffering from blood cancers. To date, the charity has registered in excess of 200,000 people, with more than 4,000 potentially lifesaving matches.
Sigma will be released on Friday, June 28.
I recently spoke with Mike Peters about the new Alarm album, touring and more in this exclusive new interview.
How does the new album compare with some of The Alarm’s previous work?
Mike Peters: It’s very much a sequel from our last record, Equals, which came out last year. The music of both albums was conceived at the same time. Originally, it was going to be a double-album called Blood Red Viral Black, but on the eve of release we decided to switch focus and release a single album, Equals, with the knowledge that a sequel would be released twelve months later. There’s a lot of connection between the two records.
The material for these two albums came about a little bit differently than what you’ve done in the past. Can you talk a little about the songwriting process?
In times gone by I’d usually start at the top of the mountain. Where you’d have that initial expression, phrase or chorus, and then you’d work your way down to find the bridge, verse and finally, the lyrics. With this set of music I started at the bottom of the mountain with lyrics first. A lot of songs came out of the turmoil of the situation when I found myself relapsed from the leukemia I’ve carried most of my adult life. At the same time my wife, Jules, was diagnosed with breast cancer, so it was a double whammy. I put everything on hold while we faced this challenge together. There were lot of places where I found myself threatened, emotionally, and I’d write down my feelings. It was only after we came through the worst of these times that I showed my wife all the things I’d written down. That’s when she said to me “This is the start of a new Alarm record. Then I printed all the lyrics out and laid them on the floor around me and started looking for the music in the lyrics to go back up the hill. These albums are very different from how I’ve worked in the past. It’s been quite liberating.