Tim Bowness – No-Man/Solo

Tim Bowness

Perhaps best known for his work with No-Man, a longstanding 28-year, six album collaboration with Steven Wilson, Tim Bowness has recently resurrected his solo career, with 2014’s well received Abandoned Dancehall Dreams and an astonishingly speedy follow up Stupid Things That Mean The World.

In fact, Stupid Things That Mean The World is a cracker that’s sure to feature well in ‘Album of the Year’ lists. It’s wistful, reflective, and very moving with Bowness’s voice, as I wrote in my review of the album “bringing every track within touching distance of common hopes and fears, past and present.” It’s a prime example of what words and music can do, working in tandom on an album that comes on like a reacquainted friend. I jumped at the chance, therefore, to speak with Tim about Stupid Things That Mean The World, his lyrical themes, his influences, playing live, and the death of rock. It’s an honour to be able to add his thoughts to the Words and Music Interview Series.

So Tim, what would you like to tell people about the new album?
Always difficult! Obviously, I hope that each album is a progression in some way from the last and that it shows some level of personal development. I think all performers like to feel that their career has a forward momentum and Stupid Things That Mean The World did feel as if it was taking aspects of Abandoned Dancehall Dreams further. Like a lot of my work, a lot of thought went into things like track listing and arrangement, though in some ways I would describe the final product as being a combination of accident and intention. Quite often it’s the accidental beginnings that you don’t control that provide the material you shape into the finished album.

In what sense ‘accidental’? Can you elaborate?
Well, in the sense I think everything is for me. When I write I don’t go in with a particular intention, although I did have an overall intention of perhaps developing ideas in Abandoned Dancehall Dreams further. I wouldn’t necessarily say: “Right, I’m going to sit down now and write a piece that is this, or a piece that is that.” ‘Press Reset’, for example, was something that surprised me as it went along. I certainly didn’t realise what the outcome would be when I started writing. It was similar with ‘Know That You Were Loved’, which was written on guitar in a very different way. In some ways the material is created in quite an instinctive and spontaneous way and then once an outcome emerges you shape it as best you can. So I meant accidental in the sense that there would never be a deliberate intention to write in a particular style or write a particular type of song.

‘Press Reset’ is my favourite track on the album, by the way.
‘Press Reset’ and ‘Know That You Were Loved’ were my two favourites actually because, as I say, they turned out to be nothing like I was expecting and it surprised me where they ended up.

‘Press Reset’ emerged from a computer studio experiment. I just followed it through to its conclusion and then heightened aspects of what the experiment suggested. At the end of the process, I felt I ended up with a song quite unlike any other I’d written and a lyric and lyrical subject I really wasn’t expecting. It’s a subject that’s always quite fascinated me, the idea of people who seemingly have happy family and work lives and then completely escape them, you know, due to various internal pressures and so on. And I realised that it had actually happened in my own family as my step-brother had done exactly the same thing, even though it wasn’t something that had particularly influenced me while I was writing it. It’s a subject, to be fair, that a lot of English people will know via the Reggie Perrin route. And it was quite interesting to me that in a sense it almost became semi-autobiographical, in that it dealt with someone I’d known.

I still feel a novice when it comes to being a musician, as opposed to being a singer, so it’s always a thrill to finish a song. In the case of ‘Know That You were Loved’, it was compositionally quite detailed, so I was pleased with my writing, which was something different for me.

You mentioned forward momentum just now, but your lyrics are, well, I would describe them as wistful and reflective, and they seem to have quite a lot to do with the past. Can you tell us more about some of the lyrical themes?
I think that melancholy and nostalgia are two themes that I’ve always visited in my lyrics. Even when I started writing lyrics in my late teens, and was in my first band, I think the themes were in many ways similar. The actual stories and the style of writing may be completely different but there’s always been this sort of impulse, if you like, to dwell on that halcyon time that is no more. And often it’s difficult to explain away those things because you’re naturally drawn to them. I can only think that there might be something in my history or in my family life that always means that in terms of my interest in literature and film and perhaps in the songs that I write, there’s a strong aspect of almost trying to reclaim innocence or reclaim happiness. Also, I think with lyrics sometimes, that whatever one does, one’s worst fears tend to be articulated in one’s work, almost as a form of exorcism. And perhaps there’s always a fear, certainly as an artist, that your best work is behind you, that your best times are behind you. However much you’re enjoying the creative process, however much it feels vital to you, I think that most musicians, artists, filmmakers have a gnawing sense of doubt. In some ways I think that’s good because it’s what propels people to do better or to change and it certainly provides some creative momentum.

What about the title of the new album Stupid Things That Mean The World?
The new album’s title concerns the small and seemingly trivial things that make us who we are, or help us through our lives. It could be an old toy, art/music, shared intimate language, a belief system, an annual holiday, the image or idea of someone you loved in your youth and so on.

Tim Bowness - Stupid Things That Mean The World album coverSo, yes, it concerns the myriad tiny things that in some ways make up personalities. I was also thinking of something like the significance of the seemingly insignificant Rosebud in Orson Welles’s film Citizen Kane where one incident with a toy in this huge media baron’s childhood seems to have been the key to his personality.

That said, the lyrical content in the individual songs is quite separate. For example, while it completely ties in with the idea of stupid things that mean the world – in this case, the person’s attachment to the idea of a holiday – a song like ‘At The End Of The Holiday’ is also very much a separate story about a person very separate from me. As with ‘Press Reset’, it’s almost a short story set to song.

In terms of influences, and things from your musical past, who are the artists who’ve made an impression on you?
There are far too many to mention! I still actively buy, listen to and enjoy music, so I’ve heard a great deal of music through the years. Probably the first artist is not one people would expect. It was John Barry the film composer. When I was around five or six, my dad used to take me to the cinema to see James Bond films, partly because my mum hated them, and I fell in love with the music. I thought it was incredibly haunting and expansive. Then, probably like a lot of kids even in the mid-70s, the Beatles and their offshoots, like Wings, had some level of importance, as did some of the bands influenced by them like 10cc. So I liked an odd combination of film music, experimental pop music and even some classical music from my parents’ collection. As I got older, and into my teens, that’s when rock, experimental rock, art rock – anything from Bowie to Floyd to Zeppelin to Genesis to Kate Bush – became extremely important.

Peter Hammill OverAnd obviously a couple of people who are on the new album are people whose music I absolutely adored when I was a teenager – Phil Manzanera of Roxy Music is one. Roxy Music were a major influence when I was younger. And Peter Hammill is another, because several of his albums, in particular his confessional album ‘Over’, meant a great deal to me. ‘Over’ was very intense, very raw, and in some ways showed me a completely different way of making music. It was something that wasn’t airbrushed or artificial in any way and dealt with subjects that most pop music didn’t – children leaving parents, the death of a relationship, the death of a friend, and so it was a series of meditations on things being ‘over’. It really resonated with me when I was in my mid-teens and I still think it’s a fantastic album.

Over the last couple of decades I’ve liked music by Mark Eitzel, Flaming Lips, Elbow, Keaton Henson, Bjork, Midlake, Troyka – a new-ish experimental UK Jazz band – and more I can’t remember. In terms of all-time favourites, Joni Mitchell’s Hissing Of Summer Lawns, Nick Drake’s Pink Moon, David Bowie’s Low, Talk Talk’s Laughing Stock and Pink Floyd’s Dark Side Of The Moon would all be in there somewhere.

Your music often seems to be labelled ‘progressive rock’ or maybe ‘art rock’. Are you happy with those tags?
To a degree. I certainly don’t go in to make what’s considered to be art rock or progressive rock but my music has a tangential link to that, partly due to some influence from art rock and progressive rock, and partly due to the musicians I work with. In some ways what I do is more a combination of art rock, art pop, prog, experimental and, of course, singer-songwriter elements as well. There’s quite a strong singer-songwriter influence, perhaps, and, again, when I was growing up people like Joni Mitchell, Nick Drake, John Martyn, were huge influences. But I have great respect for musicians who work in progressive rock and art rock territory, and in some ways it’s extremely nice to be held alongside those musicians, even if, musically, I’m not entirely sure whether what I do sits with that.

It would seem quite natural to me to relate to your music one-to-one, listening quietly on my own, though I also like being part of an audience. Do you enjoy playing live? And how do you think your music translates well to the live context?
I think it can translate well. Certainly when No-Man played live on the last two tours there was a real energy and a real sense that the band, as a live unit, developed an identity above and beyond the studio work. It really energised what we did. And I suppose if one were to apply terms to it now, we developed a vocabulary that was part art rock and part almost minimalist classical – we were working with a classical violinist called Steve Bingham who had very much come from a background of listening to Steve Reich, Phillip Glass, Arvo Pӓrt, composers that Steven [Wilson] and I like as well. That, combined with a slightly more aggressive rock attack that No-Man had, worked really well and was incredibly enjoyable to play, and, I felt, almost pointed at a potential new direction for the band.

So, I think that the louder rock aspect works quite well, as does the more experimental, extremely intimate ambient-tinged singer-songwriter work that I do with Peter Chilvers. It’s perhaps the work in between that doesn’t fare quite as well, and what’s interesting is that when you do play live the venue and audience to an extent dictate the success of the material.

It’s an interesting process and I enjoy the two extremes. I enjoy the potential noise and havoc that No-Man at their loudest can inflict, and I certainly enjoy the near silence of some of the ambient singer-songwriter gigs that I’ve done with Peter Chilvers, partly because every word and every single sound can be heard. Usually the venues we choose are appropriate for that.

Generally speaking, I love the musical aspect of playing live because sometimes songs can come alive in a different context, they can develop in different ways, though sometimes the actual act of performing is quite an alien thing. I think for any adult human being to be playing in front of an audience is something that can render most self-conscious.

Tim Bowness

Is there a particular piece of music, or album, or performance to date for which you’d most like to be remembered?
I’ve honestly no idea. That’s always for other people to say. There are pieces of mine that I’m particularly pleased with – from ‘Press Reset’ and ‘Know That You Were Loved’ from the new album to ‘Smiler at 50’ from Abandoned Dancehall Dreams to numerous No-Man songs like ‘Things I Want To Tell You’ or ‘Days In The Trees’ or ‘Things Change’. There are a number of pieces that I’m extremely pleased I was a part of, and, obviously, if people are touched by work I’ve made there’s definite validation for making it that feels really pleasing.

There’s been a lot of talk recently the death of rock or the death of the rock era. Do you think the people who are proclaiming the death of rock are right?
I think it’s changed. I don’t necessarily think that rock or popular music is dead and nor do I think that creatively it’s dead. If people look around there are still some very interesting albums being made and there are still some statements that are quite fresh. I think there is life in it, but maybe the rate of progression, if you like, has slowed down. Not only that but I think that music that perhaps isn’t at the forefront of the mainstream struggles more than it did to be heard. It’s an ironic time in a way. We have the internet, that provides instant access to everything, and we’ve also had the advent , over the last ten years, of 24 hour music TV and 24 hour digital radio. And yet, less genres of music and less bands seem to get covered.

I think it’s interesting, when you look at something like VH1. When VH1 emerged it was an adult music channel, and initially you might find anything from documentaries on King Crimson to interviews on XTC to what might have been the chart of 1999. But probably within about three or four years, this became the constant streaming of the same videos by the same small group of artists. That aspect is disappointing. One episode of The Old Grey Whistle Test or The Tube may have dealt with ten more genres and more varied artists than the 24 hour digital channels will do now. So on some level it’s bizarre that we live in an age of information and yet we’re exposed to considerably less styles of music and therefore considerably fewer possibilities. It does seem as if the algorithm has won out over the art.

That’s certainly the case if you look at local radio. I was brought up in the North West where the major cities, Liverpool and Manchester, were very active in breeding new talent. Each city only had one local radio station at the time – Piccadilly in Manchester and Radio City in Liverpool – and yet the BBC stations and these local stations would always have three to four hours of new music every evening. When I did my original demos in the mid-1980s – and this is inconceivable now – I’d get played on a show by Mark Radcliffe. He’d play the new Kate Bush single, a track from the latest New Order album, then my demo, then someone else’s demo. It was bizarrely open and eclectic. These days, Piccadilly may have four or five radio stations, but it’s Piccadilly Gold recycling the top hits of the 60s, 70s and 80s, and Piccadilly itself has become more of a commercial station. Equally the local BBC station that was around when I was first making music has become more of a talk channel.

It seems bizarre that despite having more stations, fewer things are being covered, and, generally, there has to be a very strong commercial reason for something to be covered. No-Man were managed by the Talk Talk manager, and Talk Talk were a million selling band. But I remember hearing that Talk Talk were considered “too small” to be played on VH1! So a million selling band were considered not important enough, and I think that since the 90s, that level of corporate control has perhaps got stronger. Obviously, if you’re prepared to search via the internet there are many worlds of possibility, so all is not lost in some respects.

I think you’re right, though for music that you could broadly term ‘progressive rock’, there does seem to have been some sort of resurgence of interest in the last 5 years or so?
There probably has been over the last 10 years. I mean certainly with Burning Shed [Tim also runs the online label and specialist music store Burning Shed – Ed.], when we started out progressive rock was obviously one of the genres we dealt with, and definitely since we started in 2001 the interest has got stronger. My personal belief is that there’s more interest now because of what I said – that in some ways things are very diffuse, very ephemeral, perhaps more corporate, and that people are actually searching for more depth. In a way it explains the resurgence of vinyl as well. It’s the vinyl against the download. In some ways the music is everything, but a download as a commercial property has very little to it, is very easy to produce and so on, and perhaps people are going back to vinyl because there is a craft in the album cover, there’s an expense in it being done, a real sense of effort and depth in, or implied by, the format. I think that ties in with progressive rock, in that in an era that seems, perhaps, more superficial, there are people outside the mainstream hunting for something that actually means something to them.

 

Tim Bowness

CHEERS TIM!

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Steve: ‘Every Record Tells a Story’

Every Record Tells a Story logo

When I embarked on what I now like to refer to as ‘the Words and Music project’, I did so with the dual conviction that: i) a lot of human experience in relation to rock music, and fan experience in particular, is neglected and under-described; and ii) such experience is both valuable and entertaining and ought to be captured.

It’s always a joy, therefore, to come across writers and other fans who’ve been inspired and motivated by broadly similar thoughts.

One particular joy is Every Record Tells a Story, a website/blogsite that is maintained and populated with considerable dedication and aplomb by a gentleman we may refer to as ‘Steve’.

Steve’s frequent, informative and humorous articles have not just provided succour to his regular music-loving readership, they have also caught the eye of national newspapers, rock magazines and television documentary makers. He also recently put rock music on trial! Want to know more? Then please read on, and check out the first Words and Music interview of 2014 …

Hi Steve! “Every Record Tells a Story”– excellent name, and very true, what can you tell us about it?
Chuck Klosterman - Fargo Rock City book coverI started writing Every Record Tells A Story a couple of years ago, but the genesis of the whole thing came in 2001, when I stumbled across the newly released book Fargo Rock City by Chuck Klosterman. Here was a guy who grew up in the middle of nowhere, listened to a derided genre of music – heavy rock – and could still talk about it with enthusiasm and with his critical faculties intact. It was brilliant. Wouldn’t it be good, I thought, if I could do something like that, but talking about life in the UK? There were similarities: Klosterman lived in a part of the world that I pictured as a wilderness, whilst in the UK I grew up in a cultural wilderness, musically speaking, thanks to the national radio stations that played non-stop Stock, Aitken and Waterman.

Of course I did nothing about actually writing a book, but the idea remained. I can’t review new records as well as Pitchfork or Drowned In Sound and I can’t approach an artist and say: “I’m from Rolling Stone and can I have an interview?” But not many people write about heavy rock, and those that do tend to (rightly) take it quite seriously, and tend not to write about other genres. So I had something different, because all I want to do is make stupid jokes and write about Jack White as well as Whitesnake. The Blogs-With-Stupid-Jokes-About-Heavy-Rock-And-Indie-Bands-niche is not a large or particularly strongly contested niche in the blogosphere, so I think I have a free run at it. I am trying to make a virtue of a lack of focus.

I like to think that blogging is to writing what punk was to music – a DIY ethic – that whole “here are three chords, now go form a band”, only with words. It isn’t of course – it’s basically me, typing into a computer, which is about as far removed from punk as you can imagine. However, my blog is the culmination of years of  just being a fan of music, reading countless music biographies, storing up all these ideas and events – things that happened at gigs for example, and then gobbing them, carefully, onto the page.

I still have doubts about the name, but you have to call it something – and you should have seen the other ideas – they were far worse.

I’ve been following your blog now for about 18 months, and you’re pretty prolific – it must be quite a commitment?
I post something new every three days. It’s always fun, but the family and day job come first (I have a wife and a couple of young kids). I work in London and work long hours, but I write it all whilst I am travelling on the train.

Motivation is rarely an issue – it’s fun to do. Music is full of quirky things – from the idea of playing Dark Side of the Moon alongside The Wizard of Oz, to the daft song titles in Blue Oyster Cult records, so there’s never a lack of inspiration. It’s even better when people leave comments – it’s great to hear what people think. My favourite page on Every Record Tells A Story is something I wrote about the much missed heavy metal record store Shades, in Soho. Not so much because of what I wrote – the article is okay and The Guardian published a shortened version online on Record Store Day 2012 – but more the comments that people have left – including guys who worked there, former owners, people like me who visited to buy records and a former Kerrang! magazine scribe. It must be approaching fifty comments and has become a mini-shrine to a much missed record store.

Kerrang! WASP cover 1985You pointed out to me that we seem to have “ploughed similar furrows, musically speaking”. Tell us more about your own route into rock fandom.
The blog started with my looking back at early musical memories, which made it one of the few Status Quo-heavy blogs out there. Quo were my gateway drug to heavy rock. I also remember seeing Wham! and Queen on Top of the Pops once and telling a friend at school how great Queen were, whilst Wham! just left me cold. Buying my first copy of Kerrang! magazine in 1985 was what confirmed my interest in all things rock. It was all downhill from there …

So, is it possible to say what music means to you?
I’m part of a club of people who seem to be into music more than “normal” people. I have found a few of us. Music can be a pick-me-up or a calm-me-down, a thirst-quencher or a hangover-cure, an ice-breaker or a solo-pursuit, a mood-setter or merely background noise.

Has your taste changed much over time?
It has widened. In his book 31 Songs, Nick Hornby wrote that Led Zeppelin and loud music generally is something you grow out of. I disagree. I now find something to enjoy in most genres, but there’s still nothing quite like the sound of a Gibson Les Paul plugged into a Marshall Stack.

Three bands, three albums and three (music) books you rate highly?
Difficult to narrow it down … of bands around now, I really like Queens of the Stone Age – I think Josh Homme has built up an amazing body of work, including Kyuss and Them Crooked Vultures. Of bands from the last twenty years I think The White Stripes were outstanding. Jack White and Josh Homme together saved rock ’n’ roll in the last couple of decades, if it ever needed saving. And from the Sixties, it’s hard to look beyond The Beatles.

Masters of Reality - Blue Garden album coverAlbums-wise, my all-time favourite record is Blue Garden by Masters of Reality, although the follow-up Sunrise in the Sufferbus had Ginger Baker on drums and was quite brilliant. My favourite album of 2012 was Crown and Treaty by Sweet Billy Pilgrim – it’s a great record and deserved more attention. This year, I have chosen Drenge by Drenge – they’re a two piece from Derbyshire and make a great noise.

Ian Hunter - Diary of a Rock 'n' Roll StarBooks-wise, I have a list of fifty great rock biographies on the site but three of my favourites include: Ian Hunter’s Diary of a Rock ’n ’Roll Star, which is a journal of a slightly bewildered Englishman Abroad on a tour of the USA. It paints a great picture of the US in the early Seventies; STP: A Journey Through America With The Rolling Stones by Robert Greenfield which is superb throughout and just pips Keith Richards’ bio for the best book on The Stones; and Billion Dollar Babies by Bob Greene – about a young Alice Cooper – which is  similarly close to its subject although is out of print and hard to find. On my “to read” list is Bob Stanley’s Yeah Yeah Yeah, which was released this year and is a history of the UK charts.

What, for you, makes a rock gig special?
Getting down the front, in as small a venue as possible. The best gigs are the ones where you are closest to the band, and you get the feeling of a communal spirit, everybody’s jumping up and down and singing along.

Your most memorable gigs?
There are many. Kings X played The Marquee a couple of times and absolutely blew the roof off the place on both occasions. In the second show the boys from Anthrax were in the audience, stage-diving into the crowd. Badlands at The Astoria was incredible because they were amazing, but had already split up acrimoniously before going onstage. Jimmy Page’s solo show at Hammersmith Odeon in ’89 stands out also when he played ‘Stairway …’ with just a spotlight focused on an empty microphone stand, and the crowd just sang along. Then there was Robert Plant playing a warm-up show at a tiny basement at Colchester University and I missed my last train home, sleeping overnight at the station on a cold January night covered only by jeans, denim jacket and a t-shirt.

They say never meet your idols. What are the best and worst encounters you’ve had with an artist?
I have had very few encounters to speak of. I think I have only ever met three or four musicians. I interviewed Will Rees from Mystery Jets last year. It was a cold day, I was the last of a dozen people he had met, and he was freezing cold – literally shivering. I had a quick chat – he was very nice – and let him get back into the warmth.

You put heavy rock on trial recently, tell us more about that.
I had been building up to those articles for a while. Heavy rock is an odd genre, and splits opinion like no other. I wanted to deconstruct rock’s appeal and work out why people like or dislike it. Why did I like it so much when I was growing up? Why do I look back at some of it with fondness and at other bits with embarrassment? I loved heavy rock when I was a teenager. Def Leppard, Aerosmith, Bon Jovi – all those guys. But for many it’s just noise, or stupid, or sexist.

Maiden's Maiden

Maiden’s Maiden. What’s wrong with being sexy?

I wanted to work out why the genre splits opinion, and came up with ten reasons why people dislike heavy rock. These included the way bands dress, the way they sing, the propensity of guitarists to show off, the sexism, the possible lack of innovation. I mean, look at the way Manowar present themselves. It’s ridiculous. But I had a couple of their albums, and I overlooked their farcical dress sense. Other questions asked include: Are you more likely to suffer a nose bleed listening to Mariah Carey or Geddy Lee? Were Kingdom Come influenced by more than just the sum of Led Zeppelin’s quiet songs, plus Led Zeppelin’s louder songs? And does David Coverdale really have to be such a dirty old man? Using the pretext of a “trial” allows me to present the arguments for and against in an engaging way, and lets readers be judge and jury by voting.

So, sex, drugs and rock ‘n’ roll – jaded stereotype or the meaning of life?
Somewhere in between. There has been some great music inspired by the first two – Appetite For Destruction is a good example – but also some pretty dire stuff too.

How do you view the role of the rock writer, and the ‘blogger’ in particular?
If I have a role, it is to entertain people with the writing, make people laugh and hopefully get them to dig out a new or old record. That’s all. Every Record Tells A Story will appeal to gig goers, vinyl lovers, and fans of indie, rock and metal. It’s like a poor man’s Mojo Magazine, only not as well written, but with (hopefully) better jokes.

There are many very good music blogs out there, much better than mine, a lot of which tell you about new music and new bands, and they play a great role in promoting new bands. Well, that’s not the kind of blog I write. Who wants to only listen to new stuff when you haven’t heard all the old stuff? It gets exhausting to keep up with. I start to doubt someone when they recommend their eightieth new band of the year as being something special. So I’ll write about say, six new bands a year, and I’ll really like them all.

Of everything you’ve presented on the site, is there anything of which you’re particularly proud?
I once took on a bet that I could buy all the Beatles albums on vinyl in a limited time and budget – that was a good series and was as much fun to do as it was to write. I had to do a fair bit of research, which I enjoyed. It ended up being part record collecting, part Beatles history and part comedy caper. Well, I thought it was funny anyway. I enjoyed it so much I did a follow-up with Bowie’s records six months later. As a consequence, I now own a lot of Beatles and Bowie vinyl. Which is no bad thing.

Has the Every Record Tells a Story site led to any other opportunities?
One of the first pieces I wrote for the blog was a jokey thing about my memories of taping the charts off the radio. Somehow a BBC researcher found it and invited me to take part in a BBC documentary called Pop Charts Britannia: 60 Years of the Top Forty. They found a boom box and got me to tape a recording of the top forty countdown from the early Eighties. It was a lot of fun.

More recently the editor of Classic Rock magazine got in touch to ask if they could publish one of the ‘Rock on Trial’ articles about sexism in rock. I pulled together a few Pie Charts to illustrate the point, so it had a quirky visual element to it. There are very few Pie Charts in music criticism, I find. It was very flattering to rub shoulders with “proper” writers. It was encouraging. Maybe, I thought, I should carry on doing this blogging thing just a little bit longer …

I had no expectations or ambition that blogging would lead to anything else, so these things are nice to do when they come up.

Are you involved with music in any other ways?
I play guitar at a rudimentary level – I can manage the Beatles’ ‘Blackbird’ on a good day. But I’m no Jimmy Page. Or even Patti Page for that matter.

What would you say to people who say that rock or the rock era is dead?
Dick Rowe of Decca Records said that guitar bands were a passing fad back in 1962, just after he passed on signing the Beatles …

Manowar Into Glory Ride

Manowar: “farcical dress sense”, and records, one suspects, that have many stories to tell!

CHEERS, STEVE!

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