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What was the biggest thing you learned from them? You’ve worked with some heavyweight producers. I kind of burned everyone out making that album, including myself, but I knew what it needed to feel like." "Interestingly, even as the fader went down on the final mix, I still wasn’t sure I’d gotten it right. So, I recorded two entire masters of 69 until it was right. "Then I drove Clearmountain nuts because the first version of the song didn’t have the right energy. At one point I put Jim through the shitty process of having to remake a demo of the same song (Summer of ‘69) a few times. It seemed we just kept getting decent songs every time we sat down. That particular time period was one of the most productive times of for us. "Jim had a little studio in Vancouver and we’d get together at his place for lunch and try and write songs. What were the writing sessions like for the Reckless album? There is a tape somewhere with me mumbling something that sounds like “and it cuts like a knife” and Jim mumbling back, “but it feels so right.” It was a magic moment." That was just me messing around with an open D string on my Strat. "Jim Vallance and I used to jam to drum loops until we got something we liked. Thankfully, I had another record in me after that called Reckless."Ĭuts Like A Knife has one of your most recognizable riffs. He told me there was very little because I’d signed a shitty deal and, basically, the money I made had gone into paying everyone back for tour support. Here’s an interesting fact: after Cuts Like A Knife came out and had gone platinum in the USA, I asked my manager where the money was. "The day I could pay my rent for more than a month without having to rely on anyone for support. I realized I had made it when I could pay my rent for more than a month without having to rely on anyone for supportĪt what point did you realize you had made it as an artist? So, I flew to NYC and played Bob the demos for what would become my next album, You Want It You Got It." "The next step was recording with a band in NYC with Bob Clearmountain, who I’d wanted to work with because of the Jim Carroll album, The City Drops Into The Night. That first album was basically expensive demos that did nothing, but what it did do was enable me to go on the road in better clubs at 20 years old and figure out what to do next. "I think back on that as a very lucky break. What thoughts come to mind when you look back at that album? Mick and I were going to do something but, sadly, he passed away before we could get around to it."Ģ020 marks the 40th anniversary of your self-titled debut. I just wish I had a chance to actually work with them. Beautiful musicians and each of them have a sound that makes the songs really exciting. "It was their sound, Jeff Beck and Eddie Van Halen, too. What was it about them that appealed to you? Growing up you were influenced by guitarists like Page, Clapton, Blackmore and Ronson. (Image credit: Jeff Kravitz/FilmMagic, Inc) I’d been rehearsing with Ric Parnell on drums from Atomic Rooster, and I think that might have sealed the deal." "A few years later, when I was my about to do my first proper solo tour, I came over to his apartment, played him my songs, and asked him to be in the band. We became instant friends and stayed in touch. I suggested we go for a coffee from a chance meeting when I was 16. Any band that had Keith in it was guaranteed to have someone at the front of the stage (mostly girls). "Keith is a guitar God, even way back when we first met in 1976 in Toronto.
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You’ve been working with guitarist Keith Scott for more than four decades. It just wouldn’t be the same on another guitar."Īny band that had Keith in it was guaranteed to have someone at the front of the stage (mostly girls) Take, for example, the U2 song, One, that Edge played a Gretsch Green Country Club on, or Brian Setzer playing any of his songs on his 6120 for that matter. Except on my first recordings, I’ve always used vintage gear, and I know I’m not alone. "Each guitar and old amp seem to have their own particular characteristics. What do you like most about vintage gear? I sometimes think it sounds like Malcolm Young when I’m playing it, even though I know he played a Gretsch Jet." I love the look, as it’s really a jazz guitar, but the P-90s cranked up are explosive. I use them all the time, particularly on the road. "I have a couple of early-1950s ES-295s but the first one was bought from my guitar tech in the early '90s.