By: Robert Cavuoto
Michael Des Barres the British singer, songwriter, musician, and actor will be releasing a new full-length CD entitled; The Key To The Universe this April 7th on FOD Records.
The album is a return to down and dirty rock music with heavy guitars and unflinching lyrics about living life to the fullest.
For this CD Michael enlisted some heavy hitting musicians to fuel this edgy and powerful CD with its enormous songs and strong melodic riffs.
On bass is longtime friend and collaborator Nigel Harrison of Blondie and Silverhead fame, on drums is Cliver Deamer [who has played with Robert Plant] and on guitar is Dani Robertson.
I had the opportunity to speak with Nigel about the creation of this CD, as well as how his work with Blondie inspired a generation.
******
Robert: Tell me about your long standing friendship with Michael?
Nigel Harrison: I owe so much to Michael. He picked me out of the crowd to play bass for him in 1971. When I first moved to London, to the bright lights of the big city, I used to read the back pages of the paper like The Melody Maker for bands to audition for. I soon came to realize that any time an ad was in a block versus small print, there was money behind it.
I would religiously respond to every block ad looking for a bass player. The block ad that connected Michael and I didn’t make any sense. It read, “Erotic Relaxer requires bass and drums.” So I called, and it was an open audition with Michael’s band which was funded my Andrew Lloyd Weber and Tim Rice.
There were a million people there but I got the gig. I later found out there was a misprint in the ad, it should have read, “Young, Erotic, Relaxed musicians required” which is still kind of twisted [Laughing].
Within a few weeks of putting Silverhead together in London, we started recording our first album with Martin Birch. At the time we were on EMI with Deep Purple. In six weeks, we completed the album and were on our way to opening up for Deep Purple at the Kennedy Center in front of 23,000 people! It was an incredible time.
Robert: Tell me about the chemistry that you and Michael share when it comes to making music?
Nigel Harrison: Michael is so inspirational; he can take two chords and make a great song out of it. With other players there’s a warm up period but with Michael, it’s instant. We always seem to come up with something good which is not always the case when working with other people. I’m incredibly proud of the music we created with Silverhead.
To this day when I listen to those tracks, I know it’s me playing bass, but is sounds so open and free. I guess because I was so young and not self-conscious; plus it was rock.
We were a great band. It’s essential listening and good sounding records.
In those days there was no cutting, pasting or overdubbing, except for punching in little things here and there. Back then you worked up a sweat and let the tape roll. Sometimes it would take six takes before it was right. But it sounded good.
Robert: Did keeping things simple – just two guitars, bass and drums – steer you down a certain creative path as your truly captured that old school rock vibe?
Nigel Harrison: Most hard rock bands go through their career trying to capture a great “live” sound. There is always something that happens making it sound sterile and that prevents the true “earthiness” to come through. With this record there were no issues like that.
When Michael and I worked with Steve Jones of the Sex Pistols for the band Chequered Past, I knew we were in trouble when the producer said, “I’m not sure how I’m going to mix this?” [Laughing].
We struggled so much during the recording as we could never capture the true dynamic sound of the band. It was a bit too sterile.
This one really captures the sound.
Robert: “Burning in Water, Drowning in Flames” is one of my favorite tracks on the CD, what can you tell me about it?
Nigel Harrison: It’s a great melodic blues track written by Grammy winning song writer Jeff Silbar. Jeff had sent the song to me many years ago. It had just good lyrics and feel that it was perfect for Michael’s CD.
Robert: I understand you recorded this CD in Italy.
Nigel Harrison: I can’t rave enough about the studio in Rome called the Forum Music Village. It was a killer room. The greatest frustration with recording rock music is capturing the sound and getting it on the tape. That why you have people spending a year getting a bass drum sound. Like in the old days we set up the drums in the middle of the room. When you listen to those drums you can feel the air in the room.
With most records something always goes wrong, but with this record it was smooth and perfect from the minute we walked in. I’m surprised more people aren’t recording in there, like Jimmy Page or AC/DC.
Robert: Were the songs written in advance of entering the studio?
Nigel Harrison: We only had a few ideas for songs, but nothing complete. We were a three piece band when we entered the studio and after the first take and a few adjustments to the mic placement everything gelled. The room played itself and became part of the texture of bands. We wrote all the songs quickly and ran through a few cover songs like Linda Perry’s song, “Can’t Get You Off My Mind.”
Robert: Will the band tour to support this CD?
Nigel Harrison: I certainly hope so. It’s a great band and our guitarist Dani Robertson is a killer player. He deserved a lot of the credit and we can’t wait for people to see him in action. I’m incredibly proud of it and can’t wait to take it on the road. I’m sure Mike is ready for that, as well.
Robert: How has your playing techniques changed from ’70s to now?
Nigel Harrison: Back then we were so young and fresh and the melodic music allowed it. Like the time I worked with Ray Manzarerk [The Doors] for a few years. I played on his solo album, but didn’t get credit because I was illegal at the time. That’s the album with Joe Walsh and Patti Smith. It was incredible!
With Blondie, as great as those records are, where weren’t capturing the live performance. The producer, Mike Chapman came from a pop world and wanted a pop record. Everything was very regimented.
I’m very proud of the Blondie stuff, but it cramped my style of playing. It was frustrating on songs like “Rapture” where we would play the same riff over and over. Every now and again I would like to add a bit of personality by doing a fill or a riff and Mike would shut me down.
I was asking him why didn’t you get a machine? Little did we know that in the years to come, people would be making music with machines. I lost a lot of my actual true playing, but I learned my lesson and went back to where I started.
Robert: Growing up in ’60s and ’70s must have been pretty exciting, I’m sure you have some amazing stories and insightful perspective on things that were going on around you. Are there any great stories that come to mind when reflecting on your past?
Nigel Harrison: I was born in 1951 and where I grew up, every Tuesday night bands who were on the circuit would play there, like The Yardbirds, the Small Faces, and The Who. I saw The Who so many times, but on this one night in 1966, they opened with “Substitute.”
They stood behind a velvet curtain preparing for it to drop and I can remember Pete Townshend’s guitar went out within a few bars of the song. It was just John Entwistle’s bass playing through a wall of Vox amps and the subsonics were so powerful. I can remember the girl next to me got a nose bleed because of the subsonics from bass. They were that loud.
I am proud of the fact that I played on “Cherry Bomb” by the The Runaways! A lot of people don’t realize that I was bass player in the The Runaways. Back in the day I was sworn to secrecy.
When their manager Kim Fowely died, she died owing me $20. My fee was $100 for my bass work and I was only paid $80. She took my $20 to the grave. I played on that record. It’s only recently that when you Google it on the Internet I get my credit, even through my name isn’t on it.
Robert: How does The Who’s volume back then compare to concerts now days?
Nigel Harrison: Everything is like easy listening now compared to back then. Many of these new venues have great acoustics that you hang on to every note and word because the sound is so killer. I don’t think I have been offended by volume like that in a long time. [Laughing]
Robert: Blondie was on the forefront of New Wave and merged it all perfectly with punk/pop/dance – where did that mixture come from?
Nigel Harrison: I think it came from New York, as there is so much culture there. Just growing up in a big city. Obviously, a lot is from Deborah Harry and Chris Stein’s lifestyle.
Robert: In your opinion was New Wave a sound or a revolution in the late ’70s and early ’80s?
Nigel Harrison: New Wave was just a tag, it really means nothing. Maybe it was good for fashion and skinny ties but I don’t think you can categorize any band that has had long-term success. Were the Beatles considered New Wave? [Laughing]
Robert: Once Blondie started receiving recognition in the U.S., did the image of Deborah Harry personify the band or did the music personify Blondie?
Nigel Harrison: That’s a tough question. [Laughing] I’m going to answer; “Yes” and “Yes.” Obviously Deborah was the blond in Blondie, but for a while Blondie was a band.
