Saturday, February 28, 2009

From The Street Of Dreams To Over The Rainbow : An Exclusive Interview With Joe Lynn Turner


Born in Hackensack, New Jersey, Joe Lynn Turner grew up with a deep appreciation of classic r&b music before being turned on to the harder edged sounds of blues based rock, exemplified by Deep Purple, Jimi Hendrix and Free in the late 1960's. After going through the usual route of high school garage bands, in 1976 the vocalist/guitarist first gained a taste of national success with Fandango, with whom he released four albums before the band disbanded after the release of 'Cadillac' in 1980. While the band's style of commercial AOR had not brought the band much chart success, it did attract the attention of legendary former Deep Purple guitarist Ritchie Blackmore, and after being called down for an audition, Blackmore was so impressed that he immediately enlisted Turner in Rainbow, replacing Graham Bonnet.

The band, originally fronted by Ronnie James Dio on its first trio of albums, had already begun a metamorphosis with Bonnet at the vocal helm from the neo classical-isms of the earlier offererings towards a slicker commercialized AOR style. A shift which found fruition on the first album with Turner on vocals, 'Difficult To Cure', which yielded the band's highest charting UK single, the Russ Ballard penned "I Surrender," which reached #3 on the singles charts in 1981.

But, as impressive a showing that may have been, even bigger success was lurking right around the corner, not only in the U.K, but throughout the world. A four track EP 'Jealous Lover', also from '81, reached #151 on Billboard's Album Charts, with the title track receiving substantial FM airplay in the United States, reaching #13 on Billboard's Rock Tracks. With the advent and rise of MTV the following year, the band's sixth album, 'Straight Between The Eyes' fueled by the single and video "Stone Cold" reached #30 on Billboard's Album Charts while the song reached #40 on the Billboard Pop Singles Chart, and #1 on the Mainstream Rock Charts, remaining a classic rock radio staple to this day. The pinnacle commercially, but also arguably artistically speaking as well, the album is considered by many as being the strongest of the Turner years of the band. The follow up, 1983's 'Bent Out Of Shape' featuring the single "Street Of Dreams," came close to duplicating the former's success, hitting # 34 on Billboard's Album Charts. Soon however, the lure of millions offered to reunite the classic Mark II version of Deep Purple made it the last studio album released by Rainbow before Ritchie Blackmore and Roger Glover took part in the 1984 reformation.

After the break-up of Rainbow, in 1985 Turner released a solo album 'Rescue You', produced by Roy Thomas Baker, who is known for his work with Queen and The Cars. The first single,"Endlessly," received extensive airplay on radio and MTV. A tour with Pat Benatar and acting role in the movie, "Blue Deville" followed. After lending his vocal talents to an array of artists ranging from Billy Joel, Cher to Michael Bolton, in 1987 he joined Swedish guitar virtuoso Yngwie Malmsteen's band, Rising Force, co-writing and recording the band's most successful commercial offering 'Odyssey,' which in 1988 hit #40 on Billboard's Album Charts.

Once again, Ritchie Blackmore would enter Turner's life. By winter 1989, tensions between the guitarist and vocalist Ian Gillan had escalated to the point where Deep Purple found itself looking for another lead singer. After yet another audition, he found himself fronting the band which had been his major influence as a teen, soon recording the full length 'Slaves and Masters' which saw release in October 1990. The album's more mainstream approach, more aligned with Turner and Blackmore's work with 80's Rainbow than the classic 70's style of 'Machine Head,' did not attract big enough media attention and was practically lost in the US. Despite a single "King Of Dreams" reaching # 6 on Billboard's Mainstream Rock Singles Chart, and a successful European tour, Turner found himself the odd man out once again when record company pressures led to Gillan being brought back for the band's 25th anniversary album 'The Battle Rages On' in 1993.

A subsequent disillusionment with the music business saw Turner taking an extended break largely to spend time with his family. The only high profile recording project was Mother's Army, which also included legendary drummer Carmine Appice, Night Ranger guitarist Jeff Watson and Ozzy Osbourne bassist Bob Daisley. In 1995, the vocalist released his second solo album, 'Nothing's Changed,' and in the next almost decade and a half has not slown down a bit, releasing nine solo records, interspersed with appearances on releases by Leslie West, Stuart Smith's Heaven & Earth, Brazen Abbot, Michael Schenker, two critically acclaimed efforts with another Deep Purple expatriate, Glenn Hughes as the Hughes -Turner Project, Sunstorm, plus many more contributions to various tribute albums. Showing that at an age when many are beginning to take it easy and rest on their laurels, he subscribes to a work ethic that would be exhausting to an artist just starting out, let alone one whose first recorded output was released over three decades ago.

Early in 2009 it was announced that Turner would be joining with former members of the band with which he rose to fame, ex Rainbow drummer Bobby Rondinelli, keyboardist Tony Carey, bassist Greg Smith and on guitar, the son of Ritchie Blackmore, Jürgen "J.R." Blackmore for a tour as Over The Rainbow. First scheduled as a series of dates in Russia, the project has been extended, with confirmed dates in Japan during late April/early May, with possible dates in the rest of Europe and the U.S.A. to come. Already a success, during the first three tour dates as Over The Rainbow, the newly formed band has already played to fanatic capacity crowds in Minsk, Belarus (4,000+), St. Petersburg, Russia (3,500+) Moscow (4,000+), showing the demand is high for such a venture.

Recently I had the opportunity to catch up with Turner at home prior to the Over The Rainbow dates in Russia, where the topics of discussion included the present and possible future of that project, recollections of his time in Rainbow, his latest recorded offering 'Live In Germany' ( the first live album released during his three decade plus career), plus much more. Read on as we have an exclusive, in depth conversation with one of rock's legendary voices, Joe Lynn Turner.

Special thanks go to Lisa Walker of To The Max for coordinating, and a BIG thanks to Joe Lynn Turner for doing this interview for Nightwatcher's House Of Rock!

Interview and text by Nightwatcher


February 28, 2009



Nightwatcher's House Of Rock : First off, I'd like to talk a bit about Over The Rainbow, which besides yourself features ex-Rainbow drummer Bobby Rondinelli, keyboardist Tony Carey, bassist Greg Smith and on guitar Jürgen Blackmore, son of ex-Deep Purple guitarist Ritchie Blackmore. How exactly did this come about, and why do this now?

Joe Lynn Turner : I'll be honest with you. This is kind of my brainchild. What happened was, there's always promoters all over who would say to me, "Oh, it would be great if Rainbow got back together." I'd say, "Look, Ritchie's happy doing what he's doing. Give the guy a friggin' break." Needless to say, I never had a problem with Ritchie, we're still on decent terms, we'll send e-mails back and forth every once in awhile. Especially when I was doing my last solo album 'Second Hand Life'. He's the one who very strongly suggested that I do "Stroke Of Midnight," "Cruel" and all these songs. They came out great, so I'm really thankful for that. Those are some of the songs which were left over from the Deep Purple album that never came out. That being said, I know what he's doing, and I know what he wants to do. I respect that totally, but nobody else seems to. None of the fans... everybody's always busting his balls about everything. I just said to these guys, "Leave him alone. He's never going to be doing this again. He's doing what he wants to do, and once this is done, Blackmore's Night, he's just going to kick back and play soccer."

So I'm sitting there after the last Russian tour, and the promoter's going, "Oh the Rainbow tour! It would be so great!" I said, "It's never going to be with Ritchie. Who's actually going to play guitar?" So, I'm sitting there with a couple of vodkas, and it hit me. It just came to me like a flash. Who better than another Blackmore? Jürgen is perfect for this. I know he's been playing for about 25, 30 years. So, I checked out some of his older stuff on YouTube, and I said this kid can play. I've known Jürgen since he was 16. We'd be in Germany, and Bobby and I especially were like his big brothers. I don't want to really get into it, but let's just say there were problems between Ritchie and Jürgen's mother.

So, I called Jürgen and said, "Look, I'm going to be in Germany. I'd like to meet with you, especially as I'm going to be in Hamburg." So we went out to dinner, and it was so great to see him and Karen, his manager, whom I've known for a long time. To make a long story short, I just threw it at him. I didn't ask anybody before Jürgen. He was the key player in all of this because if he couldn't do it, then I don't think anybody could really fill in. I wanted this thing to be genuine. I wanted it to be authentic. We're not a fuckin' tribute band, we're Rainbow. Every single guy besides Jürgen was a member of Rainbow in one incarnation or another, and I'd say Jürgen has the bloodline.

NHOR : As much of a bloodline as Jason Bonham would have in Led Zeppelin...

JLT : Thank you. That's a great comparison. Perfect comparison in fact. That's the way I see it too. So, once I had him in place, he was totally up for it, and excited about it, I was able to put the other members in place. A big criteria was that I didn't want any alcoholics or drug addicts. There's a couple of guys who are still doing that shit, so they were out. I narrowed it down to the guys who aren't doing that shit, or at least were available and I knew I could count on. (Laughs) Tony Carey's great, he's amazing. Greg Smith has played in my band for so long. In fact, he was in my band before Ritchie got him in Rainbow. With Paul Morris, John O' Reilly and Greg, Ritchie basically took the JLT band into Rainbow. So, it's kind of incestuous here, where people are taking everybody else's babies. So, I'm taking this one back now. Then there's Bobby Rondinelli, and Jürgen's perfect. And that's Over The Rainbow. I think it's going to be killer. Even if it's for just one go around. If it sticks great, if nobody wants to hear it, that's okay too. Then we've learned our lesson. But we feel we've got something to offer, we're going to bring out a smokin' show, and we know at least that the hardcore fans are going to come out in droves.

But Jürgen was the only logical choice. There's no other way this could work. You could get some other guitar player that's kind of got a name to fill in Ritchie's shoes, but that ain't the same. The main point here is we have a Blackmore on guitar.

NHOR : Has there been a set list worked out? Will you be playing all eras of Rainbow, or will it primarily be the songs from the 80's?

JLT : We're really excited about it. As a matter of fact, I'm just dumping some files down to create the set list. It's looking pretty good. We will represent each stage of Rainbow. We'll be doing at least 4 or 5 from the Dio era, 4 that I know of from the Graham Bonnet era, which is really probably the cream of the crop. Then fortunately, or unfortunately, in my era of Rainbow, we just had all the hits. It was crazy. So we have to do certain songs, and it's hard to pull out other songs when you've got all these great songs. What we're doing is overlearning the songs, so if something's not working we can replace it with another song. We're all rehearsing on our own, then we're only going to have 4 days of rehearsal in Moscow. So what we're going to do is basically overlearn songs, see what's working on stage, then we can change up things night after night if we want. But this is a baby, and we're just trying to see what works.

NHOR : Is this going to be something long term, or do you see this as a one off type of situation?

JLT : Let's put it this way, anyone who ever asks me about whether my JLT band will stick, or HTP, it's always the same thing with projects. Nothing is long term. It's like falling in love. Are you in love forever? Are you married forever? Is there something called divorce? Or breaking up? Is there such a thing as nobody cares? Well if nobody cares, why do it? We're not going to beat a dead horse. However, if this thing does go, we've got plans to do original material, and everything else. So it's not like a novelty. But we can only be as serious as our fans let us be. In other words, if no record company wants to pick it up, and nobody wants to hear it, nobody wants to see us get back together, and nobody cares, then nobody has to tell me that she don't love me anymore. But if there's a love affair going on, we'll keep it going. We'll put fuel on the fire. Come up with original material, an album and everything. So yes, we're serious, but we can only be in this day and age as serious as the fans and promoters allow us to be.

NHOR : Of course, as long as it's economically feasible too. With the economy being in the tank, you're not going to go out and deliberately lose money...

JLT : Exactly. Being economically feasible means that people want to hear it. If they don't love us anymore, we break up, no harm done. I have a feeling, at least this first go around, is going to be extremely interesting to people. I think I mentioned to another journalist that it's the only time Ritchie might come and see it. Because first of all he did bless it. He does want the best for his son, regardless of their past. He didn't want us doing anything with the name Rainbow in it, but that's impossible. So we left it in Jürgen's hands, and he said it's got to have Rainbow in the title. He said I talked to my Daddy, he's not happy about it, but I'm going to do this because this is my legacy. This is an honest project. There's no hidden, transparent bullshit. It's really a band, everybody's equal, it's genuine.

NHOR : Obviously with this project there are hopes that perhaps Ritchie will come and play a show with you. What do you feel are the chances, if any, of anything like that happening? Has there been any dialog between the members and Ritchie?

JLT : You never know, honest to God. If it tickles his fancy, being that Ritchie's such an unpredictable guy. I even said that jokingly, that he might even grab a guitar and get up and play with his son. How legendary would that be? Look, if it was my kid, I'd do it. I have a lot of respect for Ritchie though. He was always a mentor of mine as a guitarist, my favorite guitarist, and Deep Purple was my favorite band. So I have a long history of love and respect for him.

NHOR : You're touring in Russia first, then Japan. Are there any plans afoot to extend this, and possibly come to the States as well?

JLT : We're definitely extending it. But it seems only fitting that seeing as brainstorming in Russia got this thing together, and it took quite awhile to put together, that Russia would be the first place to open this up. It's a great testing ground, there are great fans over there who still come to all these shows. I've been playing Russia for the past 4 years really steadily, two and three times a year going back and forth, and it's a wonderful, incredible market. Now they're getting hit with the economic crisis just like everyone else. Japan too, because as we're booking there at this point, we've decided to play not small clubs, but 1,000 - 2,000 capacity, instead of going to 5,000 seaters. That's just crazy. Whitesnake and Def Leppard couldn't sell out that size of venues the second night, so we took our lead from that. They sold out the first night, but not the second, and that's two huge bands. So we said no way, and cooled our jets. We've already got these other countries booked, and Europe and Germany coming. We've got a guy here in the States with a big agency who's really behind it. However, will we do hard ticket work first? Probably not, we'll do soft ticket work first.

NHOR : What about a DVD? Has anything of that nature been discussed at all?

JLT : We should. Obviously we should try to capture this thing, even if only for historic purposes. I think it would be good though to do it after we've played some gigs first. (Laughs) So we're tight. We don't want to do the first night or anything. But somewhere down the line, and it will probably be a live DVD obviously. Perhaps a live DVD/CD or something. All of this has been discussed, and I think for posterity we'd have to do it. This thing's only going to happen once. I don't mean just once in one year, but that there's only going to be one Over The Rainbow. You're not going to get Ronnie, or Graham, you're not going to get anybody else to do this. I think, again, we'll have 4 or 5 songs from each of those guys, and I might have 8. We'll be also doing I think 2 from the Doogie era. There's not a lot to pick from there, as unfortunately 'Stranger In Us All' wasn't a big album, and it's kind of forgotten. Good album, but kind of forgotten.

NHOR : You've played with some of the greatest guitarists in the history of rock either being by being in a band with or on record... Ritchie Blackmore, Yngwie Malmsteen, Michael Schenker, Joe Bonamassa, Leslie West, Al Pitrelli... How would you rate Jürgen against any that you've worked before with in the past?

JLT : Well, I think I'll have to hold back on that answer because up to this point, all I can say is I think Jürgen's a great guitar player. But I'm not going to say he's amazing yet until I see that it's true. I believe it to be true, but I can't answer that correctly right now as I don't think I have enough information. What I mean by that is that I feel confident enough that Jürgen will play all this stuff and blow people out of the water, but at the same time I have not experienced it. So from what I know, he's got great tone, great feel. He loves to play very linear. He's just like his father when it comes to the fact that he likes to play for the song. Ritchie was exactly that way. With Malmsteen, the song was just a vehicle to play another solo. However, when he was with me, we had songs. That's why they called me in. Polygram got me in there in the first place to develop the Malmsteen band into a supergroup. We were supposed to have Bob Daisley, Eric Singer and all these other guys in the band, but Yngwie freaked out. That's an old story, but what I'm trying to say is that album, 'Odyssey' is one of the best things I've ever done, and I'm sure it's the best thing that he's ever done. Because he hasn't been able to touch that thing since.

NHOR : That's a perfect illustration of the fact that you can have amazing guitar, a lot of fantastic notes, but if you don't have an actual song to hang them onto, it's not going to stand the test of time...

JLT : That's Ritchie. Ritchie knew that. He's always after a song. He's never interested in playing fast, impressive solos. In fact, he doesn't even understand how he got where he is. He never wanted to be this guitar hero, he's always shunning it. He's a real musician, a real player. I'll never forget that story with "Street Of Dreams," when we were in Copenhagen cutting it. I went in and did the vocal, and had a very magical day. I was very inspired because the whole song was inspired. Literally, I wrote it in a dream. I woke up, wrote things down, sketches, then woke up the next morning, put it all together and it was the song. The whole thing, the reincarnation stuff. We were all dabbling in magic and everything else at the time, but this was absolutely true. That was a magical song. I believe, as far as my own abilities, that I hit all the right notes on that song. So Ritchie was, "How am I going to follow that? You killed the song." I opened up a couple of Heinekens, we sat down in the kitchen, and I said, "You can just play from your heart. Don't even think about anything. Just play. You've done this before." Blah, blah blah... and... he did. Of course, the candles were lit, everything else, but he went in there and just did it. He really plays for the song. That's the big distinction, and I think Jürgen is the same way. He's really not trying to be a flash guitar player. But his tone, his feel, he likes the longer notes, and taking the time to express himself. To answer the question though, I can't say oh he's just so amazing because it's yet to be proven to everyone.

NHOR : To most of the rock world, even though he's had several releases out, he's still an unknown quantity at this point....

JLT : Right, and I'm not going to put my neck out. But let's put it this way. If I didn't think he wasn't capable to play the Rainbow stuff, we wouldn't be in the project. (Laughs) And neither would Jürgen. Sure, we need a Blackmore, but if he only played like kindergarten, forget it. But we listened to the stuff he was writing and playing, even 15 years ago, and the current stuff, and we went... this guy's great. We loved his style. We're actually more interested in a way in how it would sound original-wise. So maybe doing original songs might be an option. He's shown me a couple of ideas already that were just great.

NHOR : You also have a new live album out, 'Live In Germany,' recorded in September 2007 at the United Forces of Rock Festival near Stuttgart, Germany. How do you feel the album turned out, and why did it take so long for you to release a live album?

JLT : (Laughs) Well, I have to laugh because we didn't even know we were being recorded. I'd been asked to do the United Forces Of Rock Festival headlining for 4 years in a row, so my manager said, "Look, I think it's probably time you did this." I said, "Yeah, you're right. I'll go over and do it." We'd just come off tour, and we went to do this one off in Germany. So there we were, a little played out, but we knew we could kick the shit out of it for one night. We went on, it was very late, and most of the crowd was pretty lethargic by this point because they'd just listened to about 12 to 14 hours of music. I knew this was a bad slot to be in. Headlining to me is bogus, because it's the shank of the evening. What you really want to do is get people at their utmost best. Before they're too drunk, and before they're too tired. Before their ears go from the compression in the room. We were at a big disadvantage that way, crowd-wise. But we just had a blast with it.

So I got offstage, we're all toweling off downstairs in the dressing room, and I think it was Ted Poley who said, "Hey guys, did you know they got all this on hard drive?" We went, "What?!" We looked at each other like, what the hell is this? Did somebody pull a fast one? He said, "No, I'm telling you. This whole concert's been recorded." So I said, "That's it." I threw the towel down, ran upstairs and grabbed Sarafino and said, "What the hell's going on?" He goes, "Well, it's all there, but if you don't want it to happen - it won't happen." I calmed down and said, "Okay, tell me more about this." So he said, "Look, I've got the right equipment." But I said, "Yeah, but the amps were kind of brittle and shitty. We didn't even get the proper keyboard. Our keyboard player didn't even have all his samples, or everything he wanted. You brought in some shitty equipment in here." It was true, it really was, and we were all concerned about that. He said, "But you have no idea, you guys put on a great set." I said, "Okay, when I get back to the States, send me the rough mixes, let me listen to it."

So I was really surprised when I heard this. I said well, it was a typical night for the JLT band, because these guys are all consummate professionals, and they kick ass. So, I wasn't really that surprised. I didn't like some of the sounds coming off the guitar and some of the vocal sounds and whatnot. So I said, "Look, let me take it into Pro Tool studio and let me EQ this up, beef it up and add some low mid-range to the bass, add a bit to the guitar, and beef it up." Not really fix it up, but beef it up. They said okay, see what you can do. So, finally we got a guitar sound that we liked. Of course Karl Cochran plays really great. He's got a very vintage sound. So we wanted to recapture that. What we did was run the existing guitar through his set up, triggered it, and it came out his sound. Lovely technology, isn't it? We went, great, that solves that. We pretty much did the same thing with the vocals and other stuff that didn't sound like an SM 57. It sounded like a better mic. We gave the vocals some balls. That was it.

So we sent it back, then to my great surprise, Martin Cronin, who I'm in touch with now because we're writing tracks together...he has a great studio in Gothenburg, Sweden, so he mixed it. I think he did an amazing job. He's a young, cool guy... when I say young, I mean young at heart, as he's probably my age. But then again, is anybody my age? (Laughs) But anyway, I was so surprised. I love it. I think it really sounds great now. I'm really proud of the band. We never had any idea we were being recorded, and I've never had a live album. So booom, there's my live album. How weird is it, and how unbelievable is it that such a really great album came out without even knowing we were being recorded? We just winged it. I'm so freakin' proud of it due to the fact that there's no samples on it. David Coverdale, hello? (Laughs) I played with those guys live, and all the shit that's going around on the Internet... they use samples like they're going out of style. I couldn't believe it, there were no real vocals there. I was there, I heard it, and saw it. So I figured, okay that's what you do when you get older or something, and can't hit the notes anymore. But then again, it's hard to criticize because I know how hard it is on the road for a singer. So whatever David's gotta do, David's gotta do. I'm not being critical, but proud of the fact that none of this was sampled or anything like that. This is who we are, and for a first live album that I've put out, I think it kicks everybody's ass. I'm really, really proud of it, and I'm proud of the guys.

NHOR : Your vocals on the album are particularly strong. After all these years, your voice is still as strong as ever. What do you feel differentiates you from other vocalists from the era you came up in, who have difficulty hitting the higher notes these days?

JLT : Let me tell ya. This ain't easy. I'm 57 years old, and it's not easy to have to be at the top of your range all the time like when you were 25 or something. So I'm going to let everybody off the hook here by saying that I am so sensitive to the vocalists out there. Even the samples and everything that's out there. Because this is not an easy gig, especially when you get up towards 60 years old. But I think my teacher gave me everything I needed. His name was Martin Lawrence. He came out of 72nd street in Riverside, New York. He taught everybody from Pavarotti to Bon Jovi. I sent Bon Jovi to him and countless others. Many other big names. Celine Dion's been there, he warmed up Whitney Houston, and so forth. Well Marty passed on. When I had Marty in my earlier days, his son Don was just starting to teach. Now he teaches the same technique, and I send anybody who wants to learn to sing over to him.

There's a lot of kids who come up and say, "Hey, would you teach me?" I'll go, "You know, I don't teach." I am teaching one girl right now, because I think she's got amazing potential. She's more of a guitarist than a singer, but they brought me in because they really want her to buff up her vocal chops. I saw her power and desire, her focus and discipline. That's the kind of student I will teach. But what I'm trying to say is Marty Lawrence gave me a technique that's incredibly strong. You don't sing from your node. I never had any nodes, or any problems. It's all about the diaphragm, the push down, pull up, the pyramids. It's all mental, it's all this, it's all that. I could go on and on about the technique. But it's truly a technique that makes a deciding difference.

Then, I'd also have to say it's all about the person. The person has to have the desire and the fire. Thirdly, I'd say you have to keep yourself in pretty good shape. You can't keep doing drugs, tons of alcohol and all this crap, because it'll kill you, and it'll dry you out. Because I went through that. I've done all the sex, drugs and rock & roll shit. I had a great time, but you've really got to start straightening out eventually. I'm no teetotaler or anything. I like my vodka, I like my smoke, but like Buddha says, I'm very moderate about everything. I do exercise, and try to stay somewhat in good shape for my age. That goes for appearance too. You've got to look good, you've got to sound good. I really work hard on that. My wife, who is quite a bit younger than me, really kicks my ass. That helps, to have a beautiful wife who really kicks your ass. (Laughs) But you need those three things. Your technique, your physical well being, and you need a lifestyle that's going to contribute to all this. It's simple as that really. But it's not that simple. Unfortunately we lost Kevin DuBrow, and all those people are still doing all that crap.

NHOR : Eventually it comes down to where you stop, grow out of it, or you die.....


JLT : That's it. I'm not saying you can't go out and have a good time, but you've got to be moderate with this stuff. Doing blow is for kids. It'd have to be a blue moon for me to do even just a little. Then, you couldn't do just a little. Back in those days you did a lot. But I like a martini every once in awhile, and after a show, sure I like to kick back and have a few. That's no big deal. But I don't do it where it would screw up a show. I don't do anything unless the day is done, the work is done, and my wife will go, "Do you fancy a pomegranate martini?" With the antioxidants in there, vitamin C, vitamin D. (Laughs) I'll have a martini or two, then that's it. Then I'll hit the sack. That's the whole thing, your lifestyle's got to be under control. Like I told the guys in Over The Rainbow, "Everybody, go to this web site. It's a weight and height chart." (Laughs) Check it out". Tony says, "Well, I'm probably the fattest guy in the bunch." I said, well, try and drop a few pal. (Laughs)You don't want to go out there and look like a bunch of asspins. You want to look cool. It's true though, perception is reality, and reality be damned.

If you gain 5 or 10 pounds, because you're older, and I had gained ten pounds, but thankfully it's off now... and I don't really read these comments, but I'd go to YouTube, look at some of the things and look at some of the videos people have put up of me, or JLT, whatever. Then you'd have a comment like, "Oh my God, he looks pregnant!" Or, "Oh my God, I'm glad he's not a sex symbol anymore." And I'll be going, was I ever? (Laughs) Then I'll just click off right away. I never read that shit because Blackmore taught me, and he said it this way: If you believe a good review, you have to believe a bad review. Therefore, don't believe any reviews. It's the same with critical comments. You can't believe one without the other, and these things will drive you crazy. So then I'd start obsessing and think, geeze, what do they want from me? So I thought about it, and you're really up against this incredible, unrealistic criticism. You've got to hit the notes, get into your size 31 inch pants, you've got to have the stamina of a bull for a two hour show. Then you've got to beat the shit out of yourself traveling, and be as brilliant every night as the last. And nobody thinks that you're human.

NHOR : It seems there's a double standard for rock and rollers than for anyone else. For instance, if one were a professional athlete, there wouldn't be this expectation that someone in their 50's or 60's is going to be the same as in their 20's, that would be unrealistic...

JLT : Yeah... Hello? So why would they expect it from a musician? Hey, I really applaud people like Paul Rodgers, who keep themselves in shape, singing well, writing, doing new projects. But this is what I follow, and to me I think I'm one of the guys still around who's still doing it. And I appreciate that, thank you very much, because I'm working really hard to do this. From diet, my vitamin regimen, everything. Every day is a discipline. Exercise, discipline. Writing songs, practicing singing, in everything, discipline. So, it takes a lot of work. But then again, to me it's the song. It's not the singer, it's the song. It's all about whether or not you're connecting with people. Somebody asked me to do a quick quote on Paul Rodgers, and I just said, "Paul is the man." You want to learn how to sing? Go to Paul Rodgers. The guy's been singing like this since he was born. He's never changed, he's only gotten better and smoother. He's not a screamer, he sings great songs, he connects with people, and has the most incredible voice. So, how does that happen? When I spoke to him he told me he's got a very disciplined method. Everything he does is just like what I'm doing. That's where I take my lead from.

NHOR : Getting back to the live album, the album is comprised for the most part of songs you originally recorded with Rainbow, with a couple of newer songs from your most recent studio album, 'Second Hand Life'. There are many fans who would love to have a live album with more of your solo material on it. Is that something that could happen as well?

JLT : Yes, that's what will happen. Because now, with my solo band we're going to incorporate more of the solo music, and less of the Rainbow, classic Purple stuff. Before, it was the other way around. People really wanted to hear the Rainbow stuff, sprinkled with the salt of classic Purple so to speak, for a little spice. Now I find, and I guess it's been working after 10 solo albums, but they really want to hear all these great solo songs. I'm like cool, I have accomplished what I wanted. I didn't even realize it actually until I got out there, and people would say, "Where's your solo stuff?" I'd go, "You're kidding, right?" And they'd go, "No." So the tide has turned. A light went on, and I went, "Okay, that's what's going to happen". So I'm making up a completely different list now for the solo band to learn. We'll possibly just do the cornerstone Rainbow stuff. The rest of it will be solo stuff. So it will happen. I'll tell ya, I had a blast when I went down to Brazil, singing all my material, songs from every album including Sunstorm. I had a blast singing just my stuff, with the exception of "Stone Cold", "Street Of Dreams" and perhaps "Spotlight Kid". But that was it. I did songs from the 'Rescue You' album, "We Keep Tonight" from the Sunstorm album... it was such a gas playing stuff from 'Holy Man' and all these other albums. Because the band down there said this is what they want to hear from you down here. We know this, we play these clubs. There was a killer band down there that I just plugged in with, and the set was great.

NHOR : You just mentioned the album 'Holy Man'. The sessions for that album featured an exceptionally talented young guitarist who has been tearing up the blues charts, and who is poised to break in a big way, Joe Bonamassa. How did you get hooked up with Joe? I know that you were involved with the Bloodline album...

JLT : Well, my co-producer and co-writer Bob Held, I guess Joe got in touch with him. Actually it was the Bloodline management. We were brought onboard, and flew up to Utica, New York, where Joe came from. We stayed up there for two weeks the first time, started writing songs, and whatever. Then, as ego would have it, Berry Oakley Jr. started getting all pissed off, he wanted his songs, and everybody wanted their songs, this and that. Joe was kind of a baby at that point, and was just looking at us. We had a couple of great songs, like "Honest Crime" and a few others off the 'Bloodline' album. To make a long story short, that's how I met Joe.

Then, when I started doing some solo stuff, I said, "Joe, you gotta play on my solo album. Why don't we write?" We wrote "Angel" and a couple other songs. I listen to those songs to this day and think, phenomenal. Just phenomenal stuff. Right down from the songwriting, to the singing, to the guitar playing, the whole connection, it just blows me away. Now, thank God, Joe's on his own, and I'm really happy for him that he's the # 1 Blues artist on Billboard, and as a solo artist he's incredible. He's singing great. He was listening to me doing the blues stuff, and I told him, "Joe, you've got a voice, c'mon." And he went to vocal coach Don Lawrence. He's become his own man. I love Joe, he's a real one. He's authentic. He's for real.

NHOR : When it comes to songwriting these days, where do you get your inspiration from? Has it changed from when you were younger?

JLT : Sure. You grow up. You start growing up, going through different phases in your life, so different things become important to you. You take the 'Slam' album, which was a really underrated album, but the songs on there are a little dark. I call that my dark period, blue period, whatever. But that's where I was at the time. The world was just exploding, and we had this comet coming after us, and nobody gave a shit. And that's absolutely true to this day. We're all fighting, trying to go to Neiman Marcus to buy Jimmy Choo shoes, going to the mall, and there's this comet coming straight for us. We've got evil in the world, on and on. It started even with 'Holy Man', when I was doing "Babylon" with Akira Kajiyama.That's all about the New World Order. So you get into these political and sociological phases. But one thing which never goes away is love, romance and basic human experiences. About conquering your fears, climbing the mountain of your dreams. That's kind of a universal theme. So I find myself always writing about that in one or two songs. Because I think people get strength from that. I know I do. I want to connect with people.

But when you're younger, you do write a few, "Oh come and fuck me baby" songs. Not as bad as some of the hair bands though. Rainbow was never like that. In fact, one girl put it, and thank God she was articulate enough to say it, "When you write a "fuck me" song, it's really more disguised as a love song." (Laughs) She's right. Even with "Tite Squeeze" or any of those songs... "Eyes Of Fire"... they were always disguised in some metaphysical way. It always ends up being romantic as opposed to just, "suck my cock." (Laughs) But there's only so many things you can draw from, and I draw from experience. That's the only thing you can do.

I'm just like everybody else. I put my pants on one leg at a time. There's no difference between me and anybody else. I don't buy into the star thing. A star is a ball of gas, a rock is an inanimate object, and I'm neither of those things. I'm not a rock star, I'm a musician. I've said this line before, and it's my favorite line. It's all about the music, and the connection. If you don't connect with people, then music has lost its ability. There have been journalists who have accused me, "Oh, the record company makes you sing ballads." No, I love ballads. But I also can rock. I also can do r&b. Sometimes being unlimited like that is a real detriment because people don't know how to take you. Or it goes over their head. I don't care. I just have to be me. I'm on a journey too, here. I'm on the journey finding out who the hell I am, and I'm finding out more everyday. I don't think it ever stops until they throw the dirt on you. But that's what it should be all about. Hopefully the song will help you get through the night or something. I've had so many great experiences of fans coming back to me and saying, "You know that song? That saved my life. I was going to kill myself." Or, "I learned English from your music." Those are the rewards.

NHOR : As an artist, that has to be the ultimate, to have that strong connection with your audience that way...

JLT : That's what you're looking for. Like, wow, I'm making a difference. Maybe I'm not an "A" artist, but I'm certainly a "B" artist, when I have to compare. I'm not a superstar, quote unquote. But I'm still hanging in, still doing what I love to do. I'm living the dream. I'm in a beautiful home, with a beautiful wife, kid and everything. I'm just having a great time with my life. Of course we all have problems, stresses and everything like that. I'm not free of that. But it's a double edged sword. There was a time when I left music for 4 years after I left Deep Purple. I got fed up with the business, fed up with the people in it. All of that cutthroat, backstabbing crap. I watched my daughter grow up a little bit. I had some time with her finally, and then my manager said, "This is you. You've got to get back into music." That's when 'Nothing's Changed' came out in 1995. After that, I've just been going. I'm probably the hardest working man in show business. I'm like Elvis or something. (Laughs)

NHOR : Due to your high profile work in Rainbow, Deep Purple and with Yngwie Malmsteen, I'm sure you've been approached by many people throughout the years asking you to sing with them. Have there been any that you turned down due to it just not feeling right for you, either musically or on a personal level?


JLT : I've turned down more than most. Because you have to have the "Wow" factor. There's a couple of guitarists out there now that I got their demos, and they're blowing me away. There's a couple songwriters like that, and so forth. All I can tell you is I'm inundated. Well Lisa Walker, my assistant, is anyway. I have this firewall up around me, so I'm pretty insulated. But she sends me anything that she feels is worthwhile. Because she's got a great ear. She's been in radio, and she knows. What happens is yes, she sends me everything, but there's only a few that get through the cracks. These few, I actually get in touch with, and actually work with. I'm not saying I'm recording their album, but I'm actually interested in them, and what they're doing. They may be the new messiah, so I keep that close to my vest. But there are thousands that I turn down, because they're just every Tom, Dick and Harry. I've got three or four of them sitting right in front of me right now, that are probably going to go into the garbage. I hate to do it, but it's just like the record companies. Garbage bin, or it stays on the desk. If it stays on the desk, then it's a work in progress.

NHOR : What has been your most "Spinal Tap" moment?

JLT : I've had a few. (Laughs) One of the best moments was when I just joined Rainbow. When I was getting into the band, we were in Copenhagen, Denmark, and we went out, and everybody was having a good time. I was coming back, and Ritchie Blackmore's personal roadie was banging on my door saying, "Let me in! Let me in!" I was like, "No way Ian." It was like 3 in the morning, I had a girl in my room, blah blah blah. Hello? Get away. He said, "If you don't open this fucking door I'm gonna kill ya." So, I say "What?" He replied, "Open it now." So, I open the door and he busts through it. In comes Ritchie with a couple of girls who look like hookers. He was playing guitar, "English Country Garden"... I'll never forget it, he was playing acoustic. Bobby Rondinelli was in his bathrobe with two bottles of wine. Then Ian decides to take everything in my room and throw it out the window. Meanwhile, Ritchie's still playing, the girls are drinking, and Bobby's getting a blow job from whoever the hell he's with. The girl I'm with, a pretty little Danish thing, is in the corner of the bed with the sheets pulled up to her eyes going, "Joe, what's happening?!" I'm screaming, "Don't throw that out the window! What are you doing?!" Ian's picking up everything and throwing it. Not my personal belongings, that was the rule, but anything else you name it. Meanwhile, I'm banging on my road manager's room, yelling, "I'm not paying for this shit!" He's yelling back, "Fuck off, I'm not working for you now. I start at 9."

Ian went into the bathroom, ripped the shower curtain rod out of the wall, threw it out the window, then took the rugs and threw them out the window. Broke the coffee table, threw it out the window. He took the mattress from the bed. Then Charlie, the other roadie, came in and started to help. They took the mattress and ran down the hall with it, put it in the elevator, pushed the button, and that was it. I don't even know where it went. I was hanging onto the mattress, but I was in my shorts. I'm half naked, 'cause I was going to do the business with this girl, ya know? Unbelievable. They're pulling me down the carpet in the hallway in the hotel and I'm getting rugburns all over my elbows and knees. So I let go...I'm hanging onto the mattress, right? I let go, I ran back to my room, and slammed the door. I'm looking around and I can't believe this. The sun's coming up, everything's just destroyed, thrown out the window. The curtains in the room, thrown out the window. So, there was a box spring, and we found a shred of a ripped up curtain, we put it over us and went to sleep for a few hours. There was no fooling around or anything, it was over by then. I got up, drunk, obviously hung over, thinking, "Shit, look at this place."

I went downstairs, called the manager, he comes over, and he's this John Cleese type. Big, tall cheery guy, totally like 'Fawlty Towers'. He says,"GOOD MORNING!" Nice, suit, everything, black glasses... and I look at him, and say, "I think you'd better come up to the room. I've got to show you something." He says, "Oh, what could it be?" All spry and everything. I'm in the elevator and he's saying, "Beautiful day, isn't it?" I'm thinking, oh Jesus. (Laughs) I'll never forget the room number, it was 812. I get up to the eighth floor, we get out, he's all cheery, and I open the door for him to let him in. He goes, "Oh my God!". I'm thinking oh shit, I'm in such trouble. He says, "Oh, this won't be too bad to repair." I'm listening, and he says, "You should have seen Bob Marley's room. There was shit all over the walls." I went, "What?!" He says, "Oh yeah, there was human fecal matter spread all over the walls." I went, "Uhhhhh..." He said, "Besides...here". He reaches into his vest pocket of his suit, pulls out an envelope and hands it to me. I'm looking at him and he's looking at me with a big smile. I'm just baffled. Just dumbfounded. I open the envelope, and there's a card in it that says, "Welcome To The Band." And, it's all been paid for by Ritchie Blackmore. So, I'm like, oh my God! He says, "And we have a brand new room for you, all set up." At that moment, all these bellhops are coming in taking my luggage in there to my new room. There's flowers in the room, and I'm like, holy shit! I'm dumbstruck. I get into the room, the door closes, and there's a fruit basket and all these flowers in a brand new suite.

I went downstairs to have some breakfast, and I see Don Airey, who was playing keys for us, at the table reading the paper. I ask, "Don, can I sit here?" He was at the table alone. He says, "Oh yeah, of course." He looks down from his paper and asks, "Rough night?" I said, "Uhhhh yeah...." He goes, "Yeah, me too, I couldn't sleep. People kept going past my window all night." I said, "Yeah, that was my room." He said, "Ahhh...they did your room, did they? Well, welcome to the band." Then goes back to reading his paper. (Laughs) I'm sitting there looking at him, hung over, nursing a Bloody Mary and trying to eat eggs & bacon, and Bruce Payne, the manager comes down. He says, "Ahhh, some night last night, huh?" So, everybody knows except me, it was a big joke on me. I go, "Yeah, kinda". He responds, "Oh well, welcome to the band." I said, "You too?" Bruce said, "Oh yeah, everybody's in on it". I was just like, "Oh, you guys suck." (Laughs) He goes, "Oh, c'mon, don't be that way." So, I thought about it and said, "Okay, it was kind of funny. Besides, I don't have to pay a dime."

Bruce said, "I've got some good news, and some bad news." I said, "What? Give me the bad news first". He goes, "The bad news is you're not playing guitar anymore on stage during "Difficult To Cure". I used to play my SG on that with Ritchie. He threw me the newspaper, and there I was with Roger Glover, in this rock guitar stance, and it's captioned, "Ritchie Blackmore and Roger Glover". The guy's got it wrong. It wasn't Blackmore, it was me. So Bruce says, "So, you're off the job." Now mind you, this is all in the same morning. So I asked, "What's the good news?" He says, "Well, you've got another 5% of the band." I went, "Whoa". Because that's big money. So, I wouldn't play guitar, but I'd make more money. (Laughs) So I had the largest percentage of the band besides Ritchie. But that was Spinal Tap, from soup to nuts.

Then there was another time, at the end of the tour in Lisbon, Portugal. I'm doing my little solo bit during the show, doing the sing along, so we're all singing together, the football type thing. Then the band's supposed to come back in, right? Well, I'm waiting for the band to come back in, but they're just leaving me out there. So I'm looking to the side of the stage, and they're all giving me the finger, laughing, like oh, you're out there. There's no end to this. Then I see them all looking up. Picture this big stage, it was like a Madison Square Garden type venue, about 20,000 people. So I look up, and just at that moment, I see ping pong balls. Thousands and thousands of ping pong balls being unleashed on me. They must have dropped about 50,000 ping pong balls on me. It was the funniest thing. But I had caught it just at the right time, so I was able to basically step out of the way of most of them. They had this whole thing rigged up, the stage manager was going to give the word, because we were playing jokes on each other by the last show of the tour. We had water pistols, and when Rondinelli would do his solo, we'd hit him in the ass with the water pistol, so he'd slip off his seat. (Laughs) All kinds of stuff was going on.

Ritchie really was one of the biggest jokers of all. He'd always be pulling all kinds of tricks. Whether it was krazy gluing your room... He'd krazy glue the lock to your room, so you'd never be able to get your key in. Because once the glue sets, forget about it. One time, when Chuck Burgi was in the band, we went back upstairs from the bar to get into our room really quick. I think we wanted to do some drugs or whatever we were doing in those days. We put the key in, and it froze. When we turned it, it snapped right off. Then we saw Ritchie tip toeing down the hallway. We knew he had krazy glue'd the lock at that moment. All these things were happening, always. (Laughs) But there are so many stories, too numerous to count. It was really fun though, it was a blast. Once I was accepted into the band, I was part of the jokes on everyone else. Then, you were quote, unquote, legal to join in the fun. "Yeah, let's fuck with Roger and put all of his furniture in the bathroom." (Laughs) That was another good one. You take all the furniture in the room, put it in the bathroom, with the mattress in there last. Now you've got the mattress, and you have maybe a 6 inch space through the door that you can peek over, if you can even get up there to do it. Everything's in there, lamps, everything. So, when you go into your room, and go to turn on the lights, nothing.

These guys were crazy. They used to take shit and wipe it on light bulbs. Your room would look completely normal, you'd turn on the light, be on the phone to home, or be writing, whatever. Then you'd smell this foul, fecal matter. You'd be like, "What the hell is this?" Then you'd realize that there was this smear of crap on your light bulb. Once it heated up, it would just permeate the room. (Laughs) Incredible. It would go on and on and on. Like garlic on your toothbrush, in case you were going to pick up some girl. You'd run into your bathroom, go to brush your teeth, so you have a sweet smelling mouth, and there's garlic powder all over it. (Laughs) And you can't get rid of that. You'd be tasting it for 4 or 5 days.

NHOR : What has been the biggest thrill of your musical career so far?


JLT : I would have to say, without a doubt, when I first got into Rainbow. It was the first tour, for 'Straight Between The Eyes,' with the big eyes that we had in the staging. We played Madison Square Garden, which was home for me. When The Scorpions open for you, and you're headlining Madison Square Garden, you have arrived. I had all my family and friends there, and it was just a moment that to me was the biggest thrill. Although we did play down the whole venue. I remember having a special meeting when we arrived in New York, and they said, "Look, this is one of the top venues in the country. We know it's your home Joe and Bobby. We know you're going to have family and friends here, but we want all of you guys to think of this as just another gig. Play it down. So we did. Psychologically, we played it down. So that we didn't over act, over sing, over play, nothing. And it was a really great concert. That's part of really becoming a professional. To not let any of those kinds of things affect you either way. The show is the show, and you have to hold your poise, hold your professionality. You can't look like some dumb ass chicken without a head up there, running around just because your family and friends are there. It can't be, "Oh boy look at me, I'm playing the Garden." You really have to bite the bullet and deliver like a professional. It was not only a thrill, but a major learning experience.

NHOR : In September of last year you went over to Iraq and Kuwait with Big Noize, an assemblage of rockers from '70s and '80s heavy metal acts like Quiet Riot (Carlos Cavazo), AC/DC (Simon Wright) and Ozzy Osbourne's band (Phil Soussan). What was that like? I hear you may be going back later on this year?

JLT : I want to go back in March sometime. We're trying to set something up for a different project to go back, RPM. Because in talking with the colonels of MWR, which stands for Morale, Welfare and Recreation, they wanted something also. We went over there with Big Noize, and we just slammed everybody with the metal stuff. It read like a classic rock hit list. He said, "We've got blacks, hispanics, all different cultures, is there something with a broader spectrum?" I said, yep, I've got exactly the act you need. I'm associated with a project called RPM, which used to be called Voices Of Classic Rock. Now it's called Rock And Pop Masters. What we do is we have a core band, with different singers, and you can tailor the singers and the sound of the music and material to suit your event. So your event wants this? How about if I grab Alex Litergood, the singer from Santana, or Skip Martin from Kool & The Gang? How about if I get Jimi Jamison from the pop side, with Survivor? Then I'll do the heavy rock. That's the kind of thing we're trying to set up. So it covers all the styles. It's a great show. Just something for everybody.

You have no idea what an amazing experience it was going over there. For me personally, and I think I can speak for everyone else individually. We bonded. We really found out what was going on over there, and what these guys were about. I've got to tell you, we need more of that in our every day life. We came back here to civilian life, saying yes sir, no maam, respectful. And I can't believe how disrespectful most people are. They litter all over the place...We're out there, in 140 degree heat, in the sand, and these camps are clean. They're clean, and everybody's polite, nobody complains. You've got people over here complaining, "Oh, I'm at the mall, and it's too crowded!" You stupid wanker. We came back with a new attitude, because we just respected everyone so much. The ability, the fellowship, and how they help each other. Nobody complains about anything. We got caught in dust storms where the marines, and the rest of the allied forces would pick up our equipment and move us into this cafeteria. We'd play in this cafeteria, with just the fluorescent lights, it didn't matter. As long as we played for them. They were so thankful. It was the best audience you could ever play for. We learned a lot about life, and a lot about everything. The truth about things. The good and the bad of it. I'm not saying everybody should have this military culture, but I think everybody should go into the military for at least one year so they can experience the effect of how to be polite, to be helpful, to have fellowship and how to get along with your neighbor. No questions asked, you just jump to and do it.

I'll never forget this. We were in this terrible dust storm, we've all got soft caps on with goggles, face masks and everything. Of course, the band's being sheltered, headed towards the hard buildings. These guys are out there moving the equipment, and a lot of things are hand signals when you're in that type of situation. Especially when you're on flights, helicopters and all that. You can't really hear anything but the chopper, so you're giving thumbs up, thumbs down, whatever. So I patted this guy on the back when I passed him, gave him a thumbs up, and he just screamed out, "No thanks necessary sir. It's just what we do." That stuck with me, that phrase. They just jump to attention, and just do it. They pitch in and never bitch. It was kind of difficult to come back here after two weeks and adjust, because we were so into that culture. The whole yes sir, no sir. That's how you answer. But that's how I was taught, by my mom. She made sure I was a gentleman about things for the most part. That I was respectful to people. I just don't think there's enough of that in the world these days. So that was a big eye opener. That's part of the trouble we're in these days. The greed, disrespect, all of that accumulates.

But I want to go back. I can't even tell you about the flags we got, or the name tags. There was a guy by the name Nathan Lynn Turner, and he ripped his tag right off his chest and gave me the 'Turner' so I could put it on my outfit. I started to well up in tears, so he saw my reaction and he started to in return. It was very emotional. They gave us flags signed by the 325th Battalion. We saw everything. We heard everything. Stories about kids who on their first deployment got shot in the head by a sniper. We heard stories from guys who are on their sixth deployment whose sons don't even know who they are. They've always been overseas. Unbelievable stories.

NHOR : What is the most important piece of advice you would give to someone just starting in the business?

JLT : The most important piece of advice is you've got to want it. If you don't want it that bad, don't even do it. Don't even try because you won't make it. This ain't no 'American Idol' out here. We never had 'American Idol', we never had rehearsal halls, we had garages and basements that we got kicked out of every other week, until we ended up back at the drummer's house playing again, until we got kicked out to go to the bass player's. Or my house. That's what we had. We didn't have any of this technology where anybody can come up with an album using Pro Tools. We didn't have any of this stuff. Yet, it still comes down to the core. You've gotta want it bad. You've got to discipline yourself and sacrifice. So what would I tell a kid? How bad do you want it?

NHOR : Is there anything else that you'd like to say to all the fans out there?

JLT : I want to say you can go to www.joelynnturner.com, where you can find out anything and everything about me. I just want to say thank you. Seriously, from the bottom of my heart, for all the support. I mean that sincerely, because without them, I wouldn't be here. I know that. Thanks so much to everyone, it's you I do this for.

For more information on Joe Lynn Turner go to http://www.joelynnturner.com/

For more information about Over The Rainbow go to http://www.myspace.com/overtherainbowrocks

2 comments:

Mindy said...

croVery good, interesting read...thanks!

gresha01 said...

This is a very good guitar player and I like his guitar playing.

Jeremy Spencer 2014 US Tour