GLENN
HUGHES
Songs
In The Key Of Rock, Hughes Turner Project II
(HTP2)
Frontiers,
MTM Records
Interview by Todd K Smith
“It’s
all about learning. I feel I haven’t achieved
anything yet. I’m a total workaholic.”
~Glenn Hughes
 Considered
by many to be the “Voice of Rock” Glenn
Hughes has returned to his former glory with
exceptional grace and blue-collar polish.
Releasing both Songs In The Key Of Rock
(his ninth solo effort) and the second Hughes
Turner Project with Rainbow/Deep Purple
vocalist Joe Lynn Turner in 2003 Hughes roars back
to reclaim his rightful crown. For his fans,
Hughes has never really left his chosen profession
remaining just under the radar creating stellar
celebrations in Funk, Hard Rock and Melodic AOR.
As a teenager Hughes teamed with vocalist John
Jones and guitarist/keyboardist Terry Rowley of
the Montanas to form Trapeze,
a band which also featured guitarist Mel Galley
and drummer Dave Holland. After their self-titled
debut they trimmed the fat to become a relentless
power trio bringing the magnitude of Holland,
Galley and Hughes together to create one of the
greatest record released in 1970, Medusa. The
group toured extensively both at home and abroad,
and although their fusion of rock and funk was
cited as a prime influence on bands like ZZ Top,
their commercial success was minimal. In the wake
of their third opus “You Are The Music…We’re
Just The Band” Hughes was invited to replace
Rodger Glover in Deep Purple.
In 1974 Deep
Purple
was going through a number of personal changes
bringing in David Coverdale to share vocals with
Hughes and mapping out a harder edge with songs
like “Burn”, “Lay Down, Stay Down” and the
blues grin der
“Mistreated”. Hughes remained an integral part
of the band even helping to break in Blackmore
replacement guitarist Tommy Bolin through the
transitional “Come Taste The Band” (1975).
After Bolin’s tragic overdose, Hughes started to
drift. He left Purple to pursue a solo career but
battling his own demons became a full time job.
The funky “Play Me Out” surfaced in 1978 to
little flair while 1983 saw Hughes paired with Pat
Travers’ guitarist Pat Thrall for a return to
his rock roots.
A series of guest spots kept the bass player
working through the ‘80s. There was Gary
Moore’s
“Run For Cover” and the one off supergroup Phenomena
which raised Hughes’ profile enough to land him
a gig on Tony Iommi’s solo record “The Seventh
Star” (1986), the record was later changed to a Black
Sabbath
title and a tour ensued. Tragically this saw Glenn
Hughes consumed by his disease. Bloated and unfit
to tour, he bowed out only days into a world-wide
sweep. The only headline for five years was his
appearance with the electronic house group KLF
on the single “America - What Time Is Love?.”
It was the extended hand of Shrapnel Records
President Mike Varney that finally helped pull
Hughes from his own road to ruin. Recognizing
Varney developmental deal as his one chance to
gain back some elements of legitimacy, Hughes
stripped his music down to its fundamental roots
and released “Blues”. Sales began to
build especially in Japan where Deep Purple was
still king. A live record “Burning Japan”
followed with several revamped Purple classics.
Then, with renewed confidence, the singer/bassist
focused on an open dialog with his fans in the
form of 1997’s Addcition. The record broke new
ground for Hughes and saw him musically
comfortable with a myriad of styles and personal
purging.
As a recovering alcoholic, Hughes maintains his
creative passion through meditation and a focus on
spiritual well-being. His remarkable comeback is
stunning as is his prolific music output.
Releasing and/or guesting on multiple of albums a
year Hughes is one of the most sought after
singers and bass players within the Hard Rock
genre. We were honored to speak with him from his
Southern California home. Here’s how it went.
The Cutting Edge: As you approach your most
prolific time as a singer, songwriter, producer
and musician how have you seen your music develop
through “Songs In The Key Of Rock to the Hughes
Turner Project?
Glenn
Hughes: For me the music has to come from a
place of love. I’m at this point in my life
where I can chose the people I work with and I
want it to be in a loving nurturing environment.
Joe (Turner) and I have had a really long
friendship. We are really honest people, and are
in a place in our lives where we can bring
something to the table that is an honest
evaluation of where we’re at. We make records
for a market place that would like to hear those
kinds of records and I’m excited by that.
TCE: On the HTP records there are times the
two of you sound so close that it’s difficult to
tell you apart.
GH:
When I produced the records I wanted some parts to
sound separate, like this is Glenn and this part
is Joe, but I also wanted the harmonies to be
seamless. There are a couple songs, especially on
the first album where you can’t tell who’s
who. That comes down to our vibrato and the way we
breathe – which is kind of the same - and we
both have the same influences.
TCE: When I spoke to Joe, he mentioned you
as one of his influences. He watches you and
listens to you sing and try’s to immolate that.
GH:
That’s very nice of him to say. There have been
a lot of discussions lately about HTP and where we
want to go with it. We are doing a nine-week
touring starting at the end of January. When we
first got together a lot of people thought this
would be a one-album deal. But there was never a
question between Joe and I. We wanted to form a
project that would at least last five years. Then
we would take a look at it after that. You see
we’re both in a good place in our lives
spiritually and that’s really important to us
and how we communicate with each other
…musically and professionally.
TCE:
The response to both Songs In The Key Of Rock and
HTP has been enthusiastic to say the least. It
must be very exciting for you to build on the old
Deep Purple/Rainbow sound and have the fans
clamoring for it.
 GH:
When I was first writing the song for these
records it was for that market. I wanted to make
records that Deep Purple, today, are not making. I
wanted to return to the classic rock market. Joe
and I want to make records that are very melodic
with big vocals - dramatic as well as classic rock
moments. Sort of like late Seventies early
Eighties if you will.
TCE: Then you hit a grand slam with the HTP
records.
GH:
Thank you, but I still don’t want to go too far
into a vintage sound. On the other hand, I don’t
want to go too modern either. I’m not competing
with new bands. I just want to make classic rock
albums.
TCE: Do you consider “Songs In The Key Of
Rock” a classic rock album?
GH:
What I wanted to do with “Songs” is write
about stuff I’ve been through. So in that way
the record does go back to a more emotional root.
Occasionally I’ll write a song that is more
cinematic. “Get You Stoned” was one of those.
I go into a video in my head and let the story
unfold like I’m watching a movie. The scenario
in that song is about a girl who likes to get high
and this guy meets her on the road – kind of a
storybook thing. Classic rock records have those
elements in them – a story everyone can relate
to. Then there is “Standing On The Rock” which
was more for a big stage song. Big number –
grand anthem.
When
I was writing “Songs In The Key Of Rock” I was
coming off “Building The Machine”. I loved
“Building The Machine” and consider it a great
record. I wanted to make my next record similar to
it but with more focused on hard rock. “Songs”
to me is one in a trilogy of albums in the hard
rock genre. The next record, which I’m almost
done writing, is even more nastier – especially
in the groove.
The whole thing about Glenn Hughes is that I
really love to sing in many colors. It’s been
sort of a blessing and a curse for me. Most rock
fans only want to hear the full turbo screaming
guy and then there is a large number of fans that
like the groovier more subdued style. It comes to
a point where I have to go one way or another. I
mean I’ve tried making records where I have it
all in there and it really confuses the mainstream
listener.
“Songs In The Key Of Rock”, although it’s
got a couple songs like “The Truth” and
“Courageous” which are more radio friendly, is
pretty much a tip of the hat to 1973. It was an
era where I did my last album with Trapeze and
latter joined Deep Purple. It is a time I feel
very comfortable writing about. My records right
now have one step in the past and two in the
future. I don’t feel it’s nostalgic – I feel
it’s more vintage. If the records are performed
and produced correctly they sound fantastic –
even in today’s market.
TCE: There is a whole new set of younger
bands that try to look and sound vintage.
GH:
Yeah, but I’m not sure they capture the spirit
of it because they didn’t live through it. They
maybe jumping on the bandwagon but I’m the one
driving the bandwagon. My newer, younger fans
respond to it because their parent introduced them
to it. So they associate the name with the older
sound.
TCE: There are parts of “SITKOR” like
“Standing On The Rock” that remind me of
“Burn”, but then you go to “Lost In The
Zone” and it has this early Rainbow
“Greensleves” feel to it.
 GH:
I do try to have an element in the song that will
take you back. Maybe it’s a familiar chord,
maybe it’s a verse. At the moment I’m writing
in just that way. I can write something extremely
funky - which is personally what I love. Or I can
make records that are melodically in tuned to the
fans ear – more importantly their soul. By
nature I’m very rebellious and you can hear that
in my music. Joe’s actually trying to get me to
be more so on the next HTP - which is about a year
away.
TCE: What was it like working with Jeff
Kollman, the guitarist behind Phil Mogg’s last
solo venture?
GH:
About 18 months ago I was going to do a couple
shows with Paul Rogers. I was going to play bass
for him and I got Jeff Kollman to play guitar and
Gary Ferguson to play drums. Paul said, “Why
would you want to do that? Why would you just want
to play bass for me?” What I wanted him to
understand is that I’m a student of music. I
want to hear other people play, other people sing.
I always want to be working with people who I can
learn from. I really respected Jeff as a guitar
player so we started writing and I felt he was a
good fit for the record. He comes from and
appreciates my style of music.
There
was one funny story in writing with Jeff. I’ve
never done a Led Zeppelin-esque song on any of my
records. I was never a huge fan. I’m a big John
Bonham fan but when Jeff came up with that groove
“Higher Places” I thought it fit. At first I
thought it might be sacrilegious but it was so
undeniably Bono that I had to do it as a tribute
to him.
TCE: Other influences seep into the
recording as well. At the end of “Written All
Over Your Face” you slip in a Beatle reference.
GH:
Absolutely. I am a massive Beatle fan. I love
Ringo. If you’re from the ‘60s and if your
English – and a musician the Beatles were it
man. You got to tip your hat to the Beatles. It
just felt comfortable for me to sing “How does
it fell to be…” at the end of the song. It
gave it the foundation surprise I was looking for.
I’m
doing a DVD performance in January to capture some
of these songs live. On the DVD will be In My
Blood, Higher Places, Written All Over Yours Face,
Wherever You Go mixed with songs spanning my
thirty-years in this game.
This report of that DVD shoot just in from
MelodicRock.com
GLENN HUGHES ROCKS SPECIAL SHOW:
Reports are in from the Glenn Hughes live show /
DVD & CD shoot in LA. Melodicrock regular and
writer for www.the-fuze.com, Todd Seely sent me
this report: "I just returned from the very
intimate Glenn Hughes DVD shoot in LA! The shoot
was held at Sound Image studio (run by Jim
Crichton of Saga), which was host to about
seventy-five lucky Hughes fans. Glenn's band
included guitarists JJ Marsh and George Nastos, Im pellitteri/Montrose
keyboardist Ed Roth and Red Hot Chili Peppers
drummer Chad Smith. Lending a hand on backing
vocals were Santana vocalist Alex Ligertwood and
Quiet Riot's Kevin Dubrow. The band blazed through
all eras of the Voice of Rock with the following
set list: In My Blood . First Step of Love .
Medusa . Seafull . Higher Places . Written All
Over Your Face . Can't Stop the Flood . Coast to
Coast . Wherever You Go . Mistreated . Blue Jade .
Getting Tighter . You Keep On Moving
Also in attendance Jeff Scott Soto, guitarist
Howie Simon, guitarist Alex Masi, former teen
singing sensation Tiffany and Hughes-Thrall/Quiet
Riot/WASP drummer Frankie Banali. Glenn also
announced another US date - April 12, when he is
tentatively scheduled to appear at the Palms in
Las Vegas."
Pictures from the event can be viewed via this
link: fanforum.ghpg.net
GH:
When I played with John Frusciante and Chad Smith
at the house of Blues a month ago it was sold out
and we played to a very young crowd. Chad and John
wanted to play the entire “Burn” CD so we
rehearsed “Mistreated”, “What’s Going
On”, “Lay Down, Stay Down”, “Sail Away”
and “Burn” but 90% of the people had never
even heard any of these songs. They were yelling
play something we know and Chad and John were
laughing. I realized that the younger crowds need
to hear these songs live all over again to
appreciate them.
To
be honest I haven’t really pursued touring in
about ten years, not since I’ve been sober. When
Joe and I initially got together it was to take
our trade to the people. People who wanted to hear
more of what we had to offer. I love singing with
another singer. I loved it when David and I sang
together in Deep Purple – that two lead singer
thing is fantastic in my opinion. And it really is
something nobody does anymore – at least not
since Temple of the Dog. With Joe it just feels
natural.
Were not chasing a double platinum dream. We’ve
done that. Were making records for people who love
that kind of music. I’m going to do this for 500
or 15,000. I’m still going to play. I write
every day of my life. I can’t stop. I get a lot
of offers to guest with other people and be on
their albums and though it’s a lot of fun, I’m
out of time and have to keep it to just the ones
I’m most interested in.
TCE: Would you still be interested in
working with David Coverdale?
GH:
I’d like to think that David and I have
something left in the tank. I’ don’t know if
it would ever happen. I love singing with soulful
rock singers. It makes us both good. There was
talk about David and I doing a debut on his next
solo record but nothing has come of it so far. I
wouldn’t be surprised if something came about in
the next few years.
 I’m
at the point in my career that I only work with
people that are on my same spiritual plain. I’m
not talking about religious level but one of peace
and harmony. We can leave our egos at the door and
have a relaxing writing session of shared ideas
– total love and nurturing. The reason Joe and I
work well together is that we can talk openly and
honestly with each other.
I’m at the point in my sobriety (11 years) that
I’m on a creative surge right now. The last two
years, I’ve been in the studio every day – and
I mean everyday. While most people are smoking
whatever and having meetings, I’m writing music.
A lot of people are talking about music and I’m
making music. That maybe arrogant but I could
probably make four or five albums a year. And feel
confident that they are good pieces of work. You
have to remember back in the day bands wrote and
toured two records a year.
I’m almost done with the next record and after
the HTP European tour I’ll be finishing it up.
I’m going further back as if Trapeze were still
playing today. It will be a nasty, groove-filled
record.
TCE: What was it about the early ‘70s
that you think is worth digging back up?
GH:
When I was playing in my band Trapeze in 1969 or
’70 at the Wolverhampton Tech College. I guess I
was about 17 or so and we were opening for a band
called Free. This was before “All Right Now”.
It was my hometown and we had just done a killer
set. I really didn’t know who the band was.
These three little geezers walked on to the stage
with Simon behind them and blew the place apart.
I’m telling you I was blown away. Every single
one of those guys was unfuckingbelivable. Together
they were the best band I’ve ever seen to this
day. As a band they knew exactly what to do and,
more important, what not to do.
I never forgot that feeling. I want people to feel
that at our show.
The HTP tour will start the end of January in
Russia then go to Spain, Italy, Germany, Austria,
Sweden.
Website: Glenn
Hughes,
Joe
Lynn Turner
Written
by Todd Smith - The
Cutting Edge http://www.thecutting-edge.net
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