Following the success of their self-titled 1977 debut album, Foreigner went on to record some of rock’s most enduring anthems, including “Hot Blooded,” “Juke Box Hero” and “Urgent,” not to mention the Number 1 hit, “I Want to Know What Love Is.”
Since then, they’ve become one of the best-selling bands of all time, with 10 multi-platinum albums and worldwide sales exceeding 75 million.
On May 19, Foreigner will celebrate their 40th anniversary with a new career-spanning compilation, 40, which features 40 hits from 40 years. The band also will embark on an extensive U.S. tour with Cheap Trick and Jason Bonham’s Led Zeppelin Experience.
These days, Foreigner is Mick Jones (lead guitar), Kelly Hansen (lead vocals), Jeff Pilson (bass), Tom Gimbel (rhythm guitar/flute/saxophone), Michael Bluestein (keyboards), Bruce Watson (lead guitar) and Chris Frazier (drums).
I recently spoke with Jones about the band’s 40th-anniversary plans, his upcoming autobiography, gear and more.
This year marks the 40th anniversary of Foreigner. When you look back now—with so much perspective—what thoughts come to mind?
It’s a real gift and has basically been two-thirds of my life. It’s been a passion for me and I’ve stuck with it through thick or thin. I’m very grateful for having the opportunity to have an experience like this and to be doing something that I really love. It’s outlasted any expectations.
What does the band have planned to celebrate the occasion?
It’s the 40th anniversary, so we have the Foreigner 40 album that’s coming May 19. We’ve also got my book coming out, which is my first autobiography where you’ll find out a bit more about me. Then we’ve got a huge American tour where we’re bringing along Cheap Trick and Jason Bonham’s Led Zeppelin Experience. We have a couple of the guys coming out to play with the band, including Rick Wills and Dennis Elliot. There’s also plans for Lou Gramm to come out and do a few shows. We hope to make it a celebration.
Kelly Hansen has been with the band on lead vocals for more than a decade. What’s it like having him with the band?
Kelly was the reason I felt confident to go ahead with this in the first place. Obviously, those were big shoes to fill, but Kelly is a go-getting front man and performer who carries the songs incredibly well and gives 150 percent every night. But that’s really the thing about the whole band—everyone is totally dedicated to what we’re doing. It’s a rare thing to find something where everyone is on the same page. There’s good feeling all around.
Read the rest of my
Interview with Mick Jones by Clicking Here!
Classic rock giants Foreigner may be responsible for some of rock’s most enduring anthems, with an arsenal of hits that include songs like “Cold As Ice” and “Juke Box Hero.” But on May 6th, the band will join forces with another legendary group, Styx to release the ultimate seasonal package— appropriately called “The Soundtrack of Summer”.
This new album collection features sixteen classic songs by both Foreigner and Styx as well as a brand new interpretation of one of classic rock’s most successful songs ever, “Hotel California”. Original songwriter and former Eagles guitarist Don Felder teams up with Foreigner and Styx for this very special collaboration as well as for a stunning new version of Foreigner’s massive hit, “I Want To Know What Love Is” (which will only be available as a limited edition vinyl disc and on iTunes).
The Soundtrack of Summer album will also coincide with a highly anticipated tour of the same name – featuring Foreigner and Styx with special guest Felder as the opening act!
I spoke with Foreigner guitarist and mult-instrumentalist Tom Gimbel about the Soundtrack of Summer, his early years touring with Aerosmith and how he got hooked up with Mick Jones and Foreigner!
What started this tour project idea and album?
Sometimes, management teams brainstorm about which combination of bands would work best during the summer. This one makes perfect sense – Foreigner, Styx and The Eagles [Don Felder] all go together so well. It’s something we like to call “traditional” rock music. Once we all decided that we were going to tour we thought, why not do a little bit of recording together to have something that would set the tone.
Tell me a little about the new version of Hotel California and the recording process.
The idea was to have each band involved on the song give their own little segment and then have everyone harmonize together. It’s all one big musical family. We were able to recreate so much by using a lot of the modern techniques of recording. Not having to wait for the tape to rewind was a really cool advantage! [laughs].
What are some of your own best summer memories?
When I was growing up I was a big fan of The Who. I remember listening to Quadrophenia and albums like that and just thinking “Wow! This is the kind of rock music that I want to get involved with!” Hearing it now really take me back to memories of being a kid. It was such a cool era of music.
Tell me a little about your days at Berklee College of Music.
When I went to Berklee it was primarily a jazz school. So it was a little too late for me to start learning jazz guitar. But I was more than happy to stay a rock guitarist while I was there and instead played the flute and saxophone. One of the things I learned while I was there was that if you wanted to get really good on your instrument, you had to spend a lot of hours practicing.
How did you get hooked up with Aerosmith?
While I was in Boston going to Berklee I was also performing in bands and hooked up with a guy named John Butcher. We made a few records on Capitol together and a lot of the people we worked with knew the guys in Aerosmith. That’s how I was recommended. It was a completely different world back in those days because someone had to actually give you their phone number. There was no Facebook or Internet back then.
Tell me how you got the gig with Foreigner.
That was another situation where someone recommended me. Kevin Williamson was a guy who worked at Atlantic Records and he was playing golf with Ricky Phillips, the bassist for Styx. Ricky’s a friend of mine and while the two of them were playing Kevin mentioned that Foreigner had an odd situation. They were in need of a guitar player who also played sax. That’s when Ricky said, “Hey, I know a guy who does that!” and he gave him my number. A few days later, Mick’s brother Kevin called me up and said “Let’s talk about Foreigner”; and I said “Yeah, let’s talk!” [laughs]! Playing guitar and sax was my dream come true.
Has there been any thought given on another new Foreigner album?
We did an album of all new material back in 2010 called “Can’t Slow Down”. Mick continues to write and is always collaborating with different people. I’m sure at some point there will be some new material. I’m not sure if it will be a whole album though. Maybe a two or three song package. We’ll have to wait and see but there will definitely be some new music.
You’ve been with the band for more than twenty years. What’s the experience like?
It’s been marvelous every step of the way. It’s a real pleasure to work with every one of these guys. This is one of those bands where everyone really respects and admires each others musicianship. We have monsters on every instrument. Mick sets a great example as our leader. He sets the tone. I look forward to playing with these guys every night.
Soundtrack of Summer Tour Dates:
Jeff Pilson is a busy man. In addition to his regular role as Foreigner’s bassist, he’s also been dividing his time with a host of other projects.
He’s working with other former Dokken members George Lynch and Mick Brown on the next T&N album, and he’s just finished producing the upcoming Kill Devil Hill album and Loveless Fascination, the first new Starship album featuring Mickey Thomas in almost 25 years.
Below, we discuss all the projects mentioned above and a whole lot more.
GUITAR WORLD: How did you get involved with Mickey Thomas’ new Starship project?
It started off from a songwriting angle. I was working with another producer on a project, and he ended up hearing a bunch of my songs. He also was working with Mickey Thomas at the time and said, “What would you think if I worked these songs with Mickey Thomas, who’s planning on doing another Starship record?” I loved Mickey and already had the songs available, so I said, “Sure, why not?” He started working with Mickey on the album, but things just didn’t work out. That’s when I got involved as the producer as well.
Hear the new Starship track “It’s Not The Same As Love” here
Read the rest of my interview with Jeff Pilson by Clicking Here
Former Foreigner vocalist Lou Gramm pulls no punches in his new autobiography, Juke Box Hero.
In the book, which was co-written with Scott Pitoniak, Gramm leads readers on a journey from his humble beginnings in Rochester, New York, to the biggest stages in the world. He recounts his stint with Black Sheep, plus the ups and downs of working with guitarist Mick Jones in the band that made him famous.
From the diagnosis that nearly took his life to his solo career success and fascination for muscle cars, Gramm’s book is an honest portrayal of self-reflection from one of the greatest voices in rock history.
I had the pleasure of speaking with Gramm to discuss Juke Box Hero and get his thoughts on being inducted with Jones into the Songwriters Hall of Fame on June 13th.
You Can read my complete Guitar World interview with Lou by Clicking Here!
Now you would think that as a musician The Grammy Awards would be something always on my agenda of things to watch. To see the best of the best get their due. But sadly, the ceremony, much like the AMA’s, CMA’s and any other “MA’s” I may have missed, seems to have become nothing more than just a lackluster showcase for the music industry to pat itself on the back instead of awarding real talent.
Don’t get me wrong, this year Adele easily deserved to sweep everything. She is a true diamond in a sea of the same old same. But outside of her obvious and most deserving win, every year the awards seems to turn more and more into something that can’t be taken seriously.
Consider the way Chris Brown was graciously accepted back onto the stage again and won a pair of awards after his most recent shenanigans. Or the way Dave Grohl of The Foo Fighters was blatantly cut off during his acceptance speech when he started telling the truth about how music should come from the heart and not a computer. And lets not forget the fact that a group of “old men” (The Beach Boys) schooled everyone who hit the stage before them with true vocal harmony.
But I’d really like to focus the meat of this blog on the list of artists from the “Rock Performance” and “Metal” categories. Because, you know me, it’s all about the Rock and Metal.
First, here’s a list of winners from thirty years ago:
Record of the Year: Rosanna: Toto
Album of the Year: Toto IV
Song of the Year: Always on My Mind: Willie Nelson
Best New Artist: Men at Work
Best Rock Vocal Performance, Female: Pat Benatar-“Shadows of the Night ”
Best Rock Vocal Performance, Male: John Cougar Mellencamp -“Hurts So Good”
Best Rock Performance by a Duo or Group with Vocal: Survivor-“Eye of the Tiger”
Best Rock Instrumental Performance: A Flock of Seagulls – “D.N.A.”
And now, here is a list of Grammy winners for 2012:
Record of the Year: “Rolling in the Deep,” Adele
Album of the Year: “21,” Adele
Song of the Year: “Rolling in the Deep,” Adele Adkins & Paul Epworth
New Artist: Bon Iver
Pop Solo Performance: “Someone Like You,” Adele
Rock Song: “Walk,” Foo Fighters
Rock Album: “Wasting Light,” Foo Fighters
Rock Performance: “Walk,” Foo Fighters
Hard Rock/Metal Performance: “White Limo,” Foo Fighters
Look at the variety of artists from three decades ago. All with hit songs and all deserving. Where is that variety today?
Please don’t misunderstand me, I love the Foo Fighters. Really, I do. But three different songs winning Grammy awards? And one Grammy for Best “Metal” performance? The Foo Fighters aren’t “Metal”.
It really upsets me that there seems to be a lack of true nominees in these categories whether by accident or deliberate intention. Every time you see the list of nominations you pretty much know who is going to win. And why is it that groups you’ve never heard of always seem to get a nod and bands that have Grammy history and new albums get ignored?
Consider artists like Journey, Foreigner and Night Ranger for example. Ok, I agree that it’s been years since any of them had songs that topped the charts. But all of these bands have released albums of brand new music, most of it very good and all within the time frame of nomination, but their body of work wasn’t even acknowledged by the academy.
Now I’m not saying any of these artists should win. Hardly. All I’m saying is that wouldn’t it be nice to at least recognize the efforts of bands that have stood the test of time and continue to deliver music for their fans? But instead, true musicianship gets over shadowed by the need for computer generated beats and auto-tuned vocal performances.
I guess I shouldn’t really be surprised though. I mean lets face it, this is the same awards show that gave the very first Grammy in the Hard Rock/Metal category to Jethro Tull instead of Metallica.
And don’t get me started on that whole Milli Vanilli incident.
The other day I finally got around to adding the $15 i-Tunes gift card I received for Christmas onto my i-Tunes account. I have to admit, although I do have a lot of songs in my playlist, most of which converted over from old CDs, I haven’t had much desire to purchase anything new as of late and hence my delay.
But with fifteen bucks beginning to burn a hole in my pocket I started perusing the list of what’s currently being classified as “hot” to see if anything struck my fancy. As expected, I began to become a bit discouraged.
Call me old (well, on second thought don’t) but I’m from an age where music and lyrics actually mean something. Having a robotic voice singing to a pre programmed beat and calling it music just doesn’t appeal to me.
And what’s with all these different versions of the same song? A song, and album for that matter, should always stand on it’s own. But yet I saw a listing of a current “hit” with no less than four different versions of the song to choose from: one done by the original artist, another a re-mix version with some rapper I never heard of, yet another version done for a Kidz Bop CD and finally one done by the cast of the TV show ‘Glee’… “This is Hot?” I asked myself. “More like cold. Cold as ice”.
I typed “Foreigner’ into the search box and suddenly there she was again. The black and white album cover of the lady with one eye: Inside Information
I didn’t want to see the date it was released. I knew it was a long time ago. Ok, twenty-five years if you really must know. An album that sold 1.6 million copies worldwide and one that also has some history with me and suddenly I started to remember. This was just one example of an entire album that related to me.
It was a typical Friday night two dozen summers ago. High school was over and college had been delayed temporarily for me due a lack of funds. I was still living at home and spent most of my days working 9-5 for minimum wage in the receiving department of the local supermarket trying to save money and start my music education journey at community college.
Say you will. Say you won’t. Make up your mind tonight.
Once the whistle sounded that Friday night it was time to jump into my orange 1974 Ford Torino and meet my fellow musician buds Nathan and Ronnie for a night of debauchery. At least that’s what we called it. I suppose that in some countries ‘debauchery’ is still defined as hanging out at a miniature golf place making plans to become rock stars and then having cheese fries and coffee at the local diner. It worked for us.
I still don’t remember how the Inside Information cassette got into my possession. I figure it must have been one of the twelve cassettes I initially chose for a penny from Columbia House as part of my initial membership. A membership that I never completed. But that tape was the soundtrack to my life for months in the summer of 1988.
I don’t wanna live without you ~ live without your love.
The funny thing about cassettes is, it’s almost impossible to skip a song on one of them. Unless you have the patience and where withal to meticulously fast forward or rewind you were pretty much stuck having to listen to the entire album in order. Suffice to say, I had neither of those qualities so I got to know every track personally from “Heart Turns To Stone” all the way through to “A Night To Remember“.
With windows rolled down we drove up Northampton street (or “The Strip” as it was called) to the echoes of Lou Gramm singing about teen angst and young love blaring from my Kenwood stereo system. Passers by would glance at us strangely when we’d stop for traffic lights but that didn’t bother us. It was a magical time. This was freedom and we were Counting Every Minute of it that we had. And we weren’t just listening to your every day Richard Marx or Michael Bolton tune. On the contrary, this was raw, pure unfiltered rock at its finest. And the words that Lou sang defined what we had in store for the evening:
I feel mean tonight ~ One-eyed jacks and aces
Read ’em and weep tonight ~I’m gonna let all hell break loose.
For the next several hours me and my homies did just that: raised hell cruising the strip and visiting the V-7 miniature golf range. I was feeling particularly lucky that night and my play proved it. Much to Nathans chagrin I sank three hole-in-one shots that night, including one through the dreaded windmill. But during my hat trick run I noticed that Ronnie seemed to be a bit distant and I’d soon discover why.
It was on the drive to the diner that Ronnie began insisting on wanting to listen to “True” by Spandau Ballet to help heal his heart of a high school love gone wrong. Ronnie was the first of our trio to be in a serious relationship that had gone sour. Right now he wanted consolation but Nathan and I wanted nothing to do with it. A Spandau Ballet cassette would never be seen in my record collection let alone in my car. “Those days are over man and you screwed up”, I told him. How ironic it was that the words to “Heart Turns To Stone” began to play to remind Ronnie of the mistake he made:
When she was with you, all along ~ Behind you, right or wrong
She tried to hold on, hold on ~ But you went too far, and she’s gone
To this day I still have no idea what the hell it was he did that went too far and ruined the relationship. The song just seemed to fit the moment and we all got a good laugh out of it.
Eventually we ended up in the diner counting pennies in our pockets to pay for coffee and french fries covered in cheese. Even though it was well after midnight just knowing that we had no where to go and nothing to do in the morning was comforting. We could easily have stayed there all night discussing women, music and songwriting and how all three were going to be a huge part of our lives as soon as we became rocks stars. But it soon became apparent that bed was calling.
Before getting back into the car for the final drive home Nathan decided to begin singing ‘Heartache Tonight’ by the Eagles right there in the parking lot:
“Somebody’s gonna hurt some one…. before the night is through.”
Which was soon accompanied by Ronnie and I in full three part-harmony: “Somebody’s gonna come undone… there’s nothing we can do”…
Perhaps it was a good thing it was midnight and no one was around for it might have been the most horrific version ever done. But late nights and copious amounts of caffeine and cheese have a tendency to throw you off key while singing A cappella. Yeah, that was my story and I’m sticking to it.
So, two dozen years after that night to remember, Inside Information was added to my i-Tunes playlist. An album I loved but had completely forgotten about. And although the V-7 has been closed for years to golfing I think one of these nights I’m going to give Ronnie and Nathan a call.
We’ll take a ride up The Strip in my 2010 Toyota Rav-4 blasting Foreigner again and seeing if the magic is still there.
It’s funny how some dates just stick out in your mind. I’m not talking about the usual ones like birthdays, anniversaries, graduation dates and the like. I’m talking about ridiculous days that you never seem to forget.
For example: July 21st, 1979 is a day that sticks in my head. It was the day my father came home with this big black electric box and said “Hey family, there’s this new thing called HBO. Check it out! All we have to do is hook up this contraption to our television, turn it to channel 3 and then twist the dial on it. We’ll get to see all of these new movies they never show on TV”.
Why that particular day sticks out in my head is still a mystery to me but I’d really like to focus this blog entry on another ridiculous date two years later: August 10th, 1981. I recall that it was a beautiful sunny day just a few weeks before I started 7th grade.
The summer of 1981 was one for the books. Days were spent in our swimming pool with my cousin and having picnics. Nights were spent by the fire and chasing lightning bugs through the backyards in bare feet.
Music was also a big part of that summer. Casey Kasem’s Weekly Top 40 always filled the airwaves almost every weekend (although as a child, every day in the summer is like the weekend).
The song “Celebration” by Kool and The Gang had just come out and I remember many a night listening to its soulful lyric “We’re gonna have a good time tonight. Let’s celebrate. It’s alright!”…pumping from our little AM/FM radio that sat on the picnic table on our patio. Some nights, we’d sneak into the house and watch Smokey and the Bandit on HBO. Jackie Gleason’s “That some-bitch!” line always cracked me up.
The summer of 1981 was also the summer I got my first tape recorder. You know, one of those Panasonic job-ees. The ones with the big red button to alert you that you were actually “recording”. Ones where children with nimble fingers could press the record and play buttons with just their thumb. For something thirty years ago this was high-tech and I used to spend countless hours that summer recording anything and everything. Usually it would wind up being me interviewing myself using different voices.
On this particular day though, after listening to another “Long Distance Dedication” portion of Casey’s radio show, I had an epiphany. Why couldn’t me and my cousin do our OWN show? We could tape record it and mix in the songs we heard on the radio! That little idea turned into the one thing I remember most about that day: The Weekly Top 20.
We found out quickly that in order to stay relevant we had to record hit songs on the radio that were current. So we spent a few hours doing the prep work of recording songs off the radio (in retrospect, we were probably one of the first kids guilty of piracy). The idea of actually getting 20 songs to play in full quickly became unrealistic. Mostly because my attention span for doing this wasn’t going to last and soon the swimming pool would be calling me. So I had to get the show on the road. I think in the end we were able to get three or four songs recorded in pre-production. (I loved using technical terms as a young boy)
My cousin and I spent most of that afternoon recording The Weekly Top 20. In between songs we did little interviews with each other and talked about the music. Our number one song the week of August 10th, 1981 was “The One That You Love” by Air Supply (one that actually was the #1 song just two weeks before). We also had Foreigner’s “Dirty White Boy”, Kool and the Gangs “Celebration” and Styx’s “Come Sail Away” as part of our line up.
The moment we wrapped, I remember writing the title of our show and the date, August 10th, 1981 on the cassette tape and then making a bee line straight to the patio where my Mom and Dad were to let them listen to the finished product. I couldn’t wait to see the look on their faces as they listened to The Weekly Top 20. Seeing them smile and get a chuckle out of what we accomplished was the greatest feeling an eleven year old could have.
It sure was an exciting day. My cousin and I talked about what we would do for next week’s show and how we would spend our money once the show went into syndication. The possibilities were endless. And to celebrate our success, we went swimming.
So here I am thirty years later sitting at my computer and thinking about that day again. Technology sure has come a long way since I pressed record and play simultaneously and HBO is bigger then ever.
I sometimes wonder how we would do that show now with all the new fangled equipment available. I suppose it would be much better but in the end I wouldn’t change a thing.
But the best part of all is when ever I hear that Kool and The Gang song on the radio now or at a wedding. I get to recall all the innocence of childhood from one of the best summers ever.