Showing posts with label Peter Beckett. Show all posts
Showing posts with label Peter Beckett. Show all posts

Dissecting Player's 'Too Many Reasons'


Peter Beckett, Ronn Moss talk about new songs

By Peter Lindblad
Player - Too Many Reasons 2013
Too Many Reasons is the new album from ‘70s soft-rock sensation Player, known best for their smash hit “Baby Come Back.” Featuring original members Ronn Moss and Peter Beckett, Player has been chomping at the bit to put this record out.

And the time is finally here.

“It was supposed to come out in November,” explains Beckett. “I had it finished. I handed the finished thing in, in July of last year, and it was supposed to come out in November. And as with everything, it’s hurry up and wait; it didn’t come out because they held it back because of the Christmas rush. And they said we’ll have a much better chance if we put it out after Christmas. So, I think it was the right move.”
Now that is has, being released in North America on Feb. 26 via Frontiers Records, Beckett and Moss are more than eager to discuss it. They went through some of its tracks in a recent interview:

Why did you want to do an acoustic version of “Baby Come Back” for this record?
Peter Beckett: That song had been … that’s one of the songs that I went in and did a while ago. And I actually did it as a demo, an acoustic demo, with a little bit of electric guitar and stuff on there, and Frontiers wanted a bonus track. And they said, “Just do something acoustically.” So I said, “I’ve got this version of ‘Baby Come Back’ that is semi-acoustic, and it’s been sitting here a few years. You can use that.” And they heard it and they loved it, so they put it on there. In fact, I think they actually said, “We like it so much we want another bonus track (laughs) and we’re going to make it part of the album.” So we had to find yet another bonus track. So that’s the story of the acoustic “Baby Come Back.”

Tell us about how some of the songs on this record came about, starting with “Man on Fire.”
PB: Okay. Well, truthfully, that was one of the latest songs. When we had most of the songs accepted by the record label, they said, “We want you to do a couple of rockers.” Our guitarist, Rob Math, who’s … well, he’s younger than us. He’s kind of a serious heavy-metal guitarist, actually. He’s quite amazing. And he had this track, which he brought to me at my studio at home, and he had a handful of songs. I said, “That track I consider a good hard rock track.” And myself and Steve Plunkett [of the ‘80s metal band Autograph], we edited it, changed parts, wrote the lyrics, wrote the melodies and sent it to Frontiers, and they said, “Perfect. Now we need another one (laughs).” I went in and did one by myself, but Ronn hadn’t heard that song until it was finished, and we were actually rehearsing in Ronn’s garage at the house with the band, and we just started playing it, didn’t we Ronn? And it was like instantly Ronnie loved it, and the band loved it.

“The Sins of Yesterday” and “My Addiction” – are they related somehow?
PB: Related to each other? No. They’re all coming from life stories, you know. They’re all little stories on their own, positive or negative, because everything comes from more truth. Some are … Ronnie can explain “My Addiction” if he wants.
Ronn Moss: “My Addiction” is from when I saw my wife … That’s my tribute to her. I dedicate that to her.
PB: And “The Sins of Yesterday,” I think speaks for itself. It’s a really weird thing explaining your songs to people, unless you’ve written about something political and then you can say whatever you want, but when you’re writing songs about your life, you’ve really got to leave it up to the listener to pick up on what you intended.

“Life in Color” and “Nothin’ Like You”
PB: “Nothin’ Like You” again is one of the older songs that I wrote with Steve Plunkett. Steve Plunkett was from the band Autograph. He was in a heavy-metal hair band, and he had a bunch of hits on his own. We’ve written together for a long time, but “Nothin’ Like You” … I don’t even remember what it was written about, ‘cause it was a while ago. “Life in Color” is a brand new song, and basically, particularly as you can hear in the words, I went through a big divorce – so did Ronn a while back, before me – and you live with that for years after and there’s something that’s always eating at you about it, you know. And my life changed about two years ago. I met somebody who changed my life for the better and made me positive again, and she just said, “You only live once. You can’t be miserable. You’ve got to live your life in color.” And that’s where that came from. It just puts a positive message out there.

Lyrically, do you have a different perspective on things – I suppose you can’t help but have a different perspective on things the older you get – but does that come through in your lyrics?
PB: Yeah, you know, somebody just said in an interview the other day – and it was a written interview, somebody from Germany – and he said, “What do you think Player has to offer?” or “Does Player have anything to offer these days?” And I said, “What we have to offer now is experience.” We’ve lived. We’re older now. We’ve got a lot of experience and that’s going to come through, probably more so than 30 years ago.

Ronn, do these songs kind of capture how you’re feeling?
PB: We’ve known each other a long time. You know, we’ve known each other since the beginning of Player, and pretty much, even when we weren’t in contact a whole lot, we were still in contact for the past 20 years or so. We’ve been constantly in contact, and we’ve done a lot of stuff together and we’ve worked on a lot of stuff together. One of the songs Ronn does on this album is a song called “Kites.”
RM: “Kites” is really sort of an ethereal-flavored song that came from one of my solo albums, and it came from a song in the ‘60s done by Simon Dupree, who had a No. 1 record with it in England when I was a kid. Well, interestingly enough, when we signed … when we met the guys from Frontiers Records, based in Italy, who were going to distribute our records, we started talking about this band …
PB: Simon Dupree and the Big Sound.
RM: Anyway, we did this song called “Kites” by this guy Simon Dupree, and this guy raised his hand, and we go, “Are you Simon Dupree?” And he goes, “Yeah.” (laughs)
PB: We’re sitting there with three of the executives from the label, and we said, “We’d like to put this song on there. It’s a beautifully produced song, you know, and Ronn does a great job on it and it’s called ‘Kites.’ It was a hit in England by this guy, Simon Dupree and the Big Sound,” and he puts his hand up like this, and we go, “No.” And he says, “Yep, that was me.” And he’s going to be our executive.
RM: Talking about my relationship to all the lyrics, Pete has always written very wonderfully crafted lyrics around amazing, memorable songs. He never writes to make a couple of hits on the album … so we had a lot of material to work from. I identified with pretty much all of it, as well. It’s become part of our thing. And so I live through it, just like everybody, but we’re always starting new. This band has always started new; everything’s fresh from the start, like erasing everything on a chalkboard, like a kid, starting over. It’s always cool to start over. And that’s what this has been. It’s been a rebirth for all of us.

You guys are planning on touring?
PB: Yep, they’re talking. They’re trying to get us to Europe, because our record label is based out of Europe. We have a shed tour that our manager is trying to put together in the summer with several other ‘70s artists … Bobby Kimball, Toto. I don’t know who’s actually going to end up on the final bill … Christopher Cross, and people like us, and the Little River Band … I’m not sure. People like us from the late ‘70s and so far, we’re looking at about a month, between May and August. Not sure if it’ll be a month in succession, but it’s about a month’s worth of gigs and that’ll continue if it goes well in America.

Player has 'Too Many Reasons' to come back


‘70s group to release new album, ready to make film debut

By Peter Lindblad

Player - Peter Beckett and Ronn Moss 2013
Peel off the layers of the onion known as Player, and it quickly becomes apparent that there was more – much more – to these ‘70s hit-makers than the ubiquitous soft-rock chart-topper “Baby Come Back.”

Right off, there’s the fact that Ronn Moss is a huge international soap opera star, having portrayed fashion mogul Ridge Forrester on “The Bold and the Beautiful” for an astounding 25 years, before recently calling it quits.

Moss’s partner in Player, Peter Beckett, may have an even more interesting background. Not only did he see The Beatles play at the Cavern Club and perform with the Little River Band from 1989 to 1997, but he also was an integral member of Paladin, one of the U.K.’s most intriguing and experimental early 1970s progressive-rock outfits.

When Paladin, which Beckett called “a fusion-rock, quasi-jazz thing” formed by ex-Terry Reid band members Keith Webb and Peter Solley, split up, Beckett headed for America – or more specifically, California – at the behest of friend Steve Kipner.

Thinking back to Paladin, Beckett recalls, “We did that whole thing where we went out and lived in a castle in Gloucestershire in the countryside for six months, and then did an album and we came back to London, and we did the whole university circuit. We did two albums. It was a pretty well-known band in England, and then it split up. And truthfully, I can’t remember why it split up. It was just a couple of guys left, and we replaced them, and it was never as good and the band split up.”

Looking around for work in L.A. after Paladin dissolved, Beckett auditioned for record labels and management companies, before winding up in something rather ridiculous called Skyband.

“It was atrocious,” says Beckett. “I mean, I’m sure they had their reasons, but they made us all dye our hair white, and they took pictures of us with no shirts on with these big helmets with feathers in … and it was Skyband and we were supposed to be like warriors from the sky – very embarrassing album cover.”

Nothing they did was well-received.

“We put out one album, and it did nothing,” remembers Beckett. “We did one tour of England, believe it or not, with the [Sensational] Alex Harvey Band. We were horrible, and we came back and split up [in 1975], and I was like floating for a year.”

Whatever sins Beckett committed beforehand in his life, Beckett’s penance with Skyband more than made up for them, and soon, he was rewarded with a 1977 meeting in Los Angeles with future band mates Moss and Texan J.C. Crowley that would lead to the formation of Player.

As Moss recalls, “We met at J.C. Crowley’s little cockroach-infested apartment. Peter and J.C. were there already and our soon to become manager Paul Palmer had said to me, ‘I’ve got a couple guys that I think you should meet, and I think the three of you will work really well.’ So he arranged it, we exchanged demos that day, we played … the place was so small that we had to go outside to meet each other, because there wasn’t room for all three of us. But we wound up using his garage to finish writing all the songs for the first Player album. And it worked out really well. I really liked the guys, and we had a camaraderie that worked well.”

Player - Too Many Reasons 2013
That friendship between Moss and Beckett that began in that tiny hole-in-the-wall has survived for decades, and they have made a lot of music together, even though it’s been almost 20 years since the last official Player record. In 2013, however, Player has resurfaced, with its newest album Too Many Reasons, and it feels to them like the late ‘70s all over again, when Player’s varied musical tastes helped propel them up the charts.

“Player’s always been a very eclectic band,” says Beckett. “I’m always worried about the songs fitting together, which is kind of stupid because The Beatles were like that anyway. You know, they always had hard rock and soft ones, and so even in the old days, we’d have a song like ‘Baby Come Back’ on the same album as a song like ‘Silver Linings,’ which was a total hard rock song. And then we’d stick some pop in there, and it was always very eclectic, and this album has turned out to be exactly that. As Ronn will tell you, I was really worried that the songs didn’t go together, but when we put them all together and mastered it, it sounded exactly like one of the old Player albums. It’s got a bit of everything in it.”

Moss adds, “I feel like these songs now, even though some of them are pulled from older songs, we’ve given them a new flavor. They are not sounding like old songs. They sound new.” And that includes the title track, which Beckett claims is “… from a while ago, and we fixed it up. That could be anybody. It sounds to me like it could be a Whitesnake record.”

‘Silver Linings’ Playbook
Unlike Beckett, Moss grew up in L.A., the son of the owner of Mutual Ticket Agency, a predecessor to Ticketmaster. Concerts, theater and music – Moss became immersed in the entertainment industry from a young age, and he played multiple instruments, including drums, guitar and bass.

Moss found his kindred spirits in Beckett and Crowley, who had been in a band together called Riff Raff, which changed its name to Bandana. That band had been on Dennis Lambert and Brian Potter’s label Haven, but Haven folded. There was a silver lining, however. The two record company moguls eventually moved on over to RSO Records, the Robert Stigwood label that would go on to sign Player, but not before Beckett, Crowley, Moss and the drummer Moss brought to Player, John Friesen, went to great lengths to get a deal.

“We got turned down by almost every record label in America, until we found the RSO label through Dennis Lambert,” remembers Beckett.

Player’s search for a label involved performing live in front of producers, because as Moss puts it, “We’d always wanted to play live in those showcases. We never wanted to play tapes of us playing. We wanted to make sure they saw us and heard us playing live.”

Before each one, Beckett says Player would rehearse for a week.

“I think we did two or three, the final one being when we had ‘Baby Come Back,’ and that’s when we were starting to get pretty good,” says Beckett. “There was one we did … I think we did about five songs, and we did ‘Baby Come Back’ at the end, and got all of it done. I seem to remember being very cocky in those days and all that, but I went on the mic and on that last song – nobody had ever heard ‘Baby Come Back’ yet – and there’s all these record executives, and I said, ‘Now, we’d like to do our No. 1 record.’ And this was like six months before it even came out, and we did it and it kicked ass. And everybody’s mouth was open like, ‘Oh my God. That sounds like a hit.’ And then we went and recorded it, and you know the rest.”

Player's self-titled debut album
Well, that’s not quite all there is to the story. With their self-titled first record out, Player brought their brand of breezy, laid-back pop-rock out on the road, initially touring with Gino Vannelli in November 1977.

“The very first gig we did – and we’d been rehearsing for a while, but we hadn’t been playing gigs – and we got this gig at the Buffalo Town Hall and we were supporting Gino Vannelli, who is, you know, amazing,” says Beckett. “And we all, with our little guitar cases, just kind of walked in behind the stage and he was doing his sound check, and it was just monstrous. It was just so good, just as synthesizers were coming in and his whole thing was synthesizers, and it was just huge. And we were sitting in the wings going, ‘Oh my God, we’ll never be anything like that (laughs).’”

While out with Vannelli, “Baby Come Back” was climbing the charts by leaps and bounds.

“We were in … a real dirty little rehearsal place, and the manager comes running and he said, ‘You guys are No. 80 on Billboard,’” says Beckett. “And we just went crazy,” much as they did when they first heard the song on the radio.

“I remember the first time we heard it on the radio,” says Moss. “J.C., Peter and I were actually driving up La Brea Avenue in my car and it came on the radio – it was one of those freak things that just happen in life. And we just started screaming in the car. It was a great moment.”

There would be many more highlights. With their hit single on the rise, going all the way to No. 1, where it spent three weeks in the top spot, Player was shifted from the Vannelli tour to the Boz Scaggs bill. “We were plucked and put on [Scaggs’s] ‘Silk Degrees’ tour,” says Beckett. “And we went from just medium-sized gigs to doing huge arenas, and [‘Baby Come Back’] hit No. 1.”

The Scaggs gig was a high-profile one for Player, but in short order, they’d be called up to the big leagues as the support act for guitar god Eric Clapton on his “Slowhand” tour.

“Well, you know, the Boz Scaggs tour wasn’t chopped liver, either,” says Beckett. “But we’d already done about two months of 30,000-seat arenas, and then we went back and did the Danger Zone album. We knew we were going on the ‘Slowhand’ tour, so we made the Danger Zone album harder edged so that we were able to go out and support Eric Clapton and have the right kind of music under our belts.”

As it turned out, they were a little too good for Clapton’s entourage.

“We had a wonderful little thing happen to us at the Aladdin Theatre in Las Vegas,” says Moss. “Player had the No. 1 record, and in the middle of ‘Baby Come Back’ there’s a silence, before the last chorus starts. Well, right at that downbeat to that chorus, after the silence, we all came in … and, no power. The power had gone out. There was nothing but drums.”

Beckett chimed in, “The sound had gone out,” before Moss added, “The lights didn’t go out – just the power to our amplifiers. So we all looked around, and they finally got it up and rolling.”

Evidently, as Player would later find out, one of Clapton’s roadies pulled the plug on Player’s performance. “It took several days for somebody backstage to finally fess up,” says Moss. “And it turned out to be Eric Clapton’s crew who fessed up and said, ‘Yeah, we pulled the plug on you guys.’ We were going down to well, and initially, we were really pissed. ‘Why would you do that?’ and the guy said, ‘It’s because you were going over a little too well.’”   

Beckett says Clapton knew nothing about the incident, but after the roadie admitted what he’d done, Clapton tried to make peace. “They fessed up. They fessed up. And [Clapton] came in the dressing room a couple of weeks later with a bottle of Jack Daniels, and he never really admitted anything, but he said, ‘Are you guys okay?’” says Beckett.

Comeback
The original Player lineup started to break apart after the Danger Zone LP, as Crowley departed for a solo career in country music. There were arena tours with Heart and Kenny Loggins, a handful of hit singles such as “This Time I’m in it for Love” – which went to No. 11 on the Billboard chart – and 1980 saw Player release Room with a View, but Moss and Friesen left soon after.

“My own decision came from the fact that our record company seemed to be falling out from under us,” explains Moss. “RSO Records had reached the pinnacle and then disbanded. And then we went to Casablanca, after Neil Bogart had died. And we weren’t recording enough. We were basically sitting around, getting frustrated and I decided to do acting and give it a try. So I went from having something in music to basically having absolutely nothing in the acting world. And I took a couple of years’ hiatus from being with Peter and Player and doing music, and they continued on, with another album from Player. He never stopped doing music, and I took a short break, and eventually we hooked back up and it’s been a nice ride – still is a nice ride.”

Player - Lost in Reality 1996
Beckett kept Player going, recording one more album with Spies of Life in the early ‘80s before shelving the Player name, until Moss and Beckett – the sole remaining original members – made 1996’s Lost in Reality. Over the years, Beckett has been a prolific behind-the-scenes songwriter, penning material for such artists as Heart (one of his favorites), Kenny Rogers, The Temptations, Poco, Janet Jackson, Survivor, and Olivia Newton-John, who scored a Top Five hit with one of Beckett’s compositions.

“I love Heart. I had a song on Bad Animals,” says Beckett. “Kenny Rogers, I had a beautiful song that Ronn actually did as well, called ‘All This Time.’ It’s a song that’s one of my favorites of what I’ve done. Kenny Rogers did it and then Ronn put it on one of his solo albums. With Olivia Newton-John, she had a song at No. 5 on Billboard called “Twist of Fate,” which we do onstage today with our band. It’s a lot harder than Olivia did it.”

Writing music for the movies has also kept Beckett busy. “I’ve written rap songs for movies. I’ve written ballads. I’ve written heavy metal. I had two things in ‘Rock Star,’ the Mark Wahlberg movie. I had the main song, ‘Living the Life.’ And that’s serious metal,” says Beckett.

But, it’s his partnership with Moss that has endured, and soon Player and its music will make it into a feature film being directed by none other than Moss himself.

“Combining Player’s music with the visual, that’s something we’ve been heading toward for a long time,” says Moss, who regrets that Player missed out on the MTV explosion. “When we did our videos, everything was very simple – standing up on a soundstage and filming the band actually playing the song. We didn’t have all that great imagery you have now.”

With their latest album, out Feb. 26 on the FrontiersRecords label, Player now has plenty of songs for Moss’s directorial debut as a filmmaker. Player will have more to say about their new album in a blog slated for that release date.

Eric Clapton pulls the plug on Player?


Well … not exactly
By Peter Lindblad

Player: Peter Beckett and Ronn Moss 2013
Others might have been intimidated by the prospect of opening up for guitar god Eric Clapton, but not Player.

After all, they had a No. 1 song to their credit in the blue-eyed soul ditty “Baby Come Back” – released in late 1977 – and in the grand tradition of giving audiences what they want to hear, Player decided to muscle up sonically for their 1978 album Danger Zone.

“We had to, because we were plucked from Boz Scaggs’s ‘Silk Degrees’ tour,” says Peter Beckett, one of the founding member of Player. “And we were still a young band. And they stuck us on Eric Clapton’s ‘Slowhand’ tour supporting Clapton for a month to [play to] like a 30,000 mainly male audience, so we couldn’t go on and be a little pop band. That’s when we started injecting more hard rock [into our sound], and it’s been that way ever since.”

In February, Player will release Too Many Reasons, its first album in 20 years. Around 35 years ago, Player was riding high, having been chosen as the support act for Clapton’s 1978 North American tour. Mixing tracks from Danger Zone into an eclectic set list that ran the gamut from pretty soft-rock ballads to melodic hard rock, Player did more than just win over Clapton’s audiences.

How were they received on that tour?

“Excellent … in fact, a little too good,” says Beckett, the lead guitarist and singer for Player.

While Beckett was being coy about what happened, Player bassist Ronn Moss – better known worldwide as the actor who’s played Ridge Forrester for 25 years on the massively successful soap opera “The Bold and The Beautiful” – expanded on Beckett’s statement.

“We had a wonderful little thing happen to us at the Aladdin Theatre in Las Vegas,” relates Moss. “Player had a No. 1 record, and in the middle of ‘Baby Come Back,’ there’s a silence before the last chorus starts. Well, right at that downbeat to that chorus, after the silence, we all came in … and, no power. The power had gone out. There was nothing but drums.”

The possibility of a citywide blackout was immediately dismissed, since the lights didn’t go out … “just the power to our amplifiers,” says Moss. “So we all looked around, and they finally got it up and rolling, running …”

Adds Beckett, “… but, we’d finished (laughs)."

So, what happened exactly? As Moss recalls, the guilty party, or parties, didn’t step forward right away.

“It took several days for somebody backstage to finally fess up,” says Moss. “And it turned out to be Eric Clapton’s crew who fessed up and said, ‘Yeah, we pulled the plug on you guys.’ We were going down too well, and initially, we were really pissed. [I said] ‘Why would you do that?’ and the guy said, ‘It’s because you were going over a little too well.’”   

Beckett cautions, “The truth of it was, Eric Clapton knew nothing about it. It was just an uppity roadie. You know how those roadies are (laughs).”

They can joke about it now, but at the time, they were apoplectic.

“We were just pissed about it, and then I thought, ‘Wait a minute. Eric Clapton pulled the plug on us?’” says Moss. “They fessed up. They fessed up. And [Clapton] came in the dressing room a couple of weeks later with a bottle of Jack Daniels, and he never really admitted anything, but he said, ‘Are you guys okay?’”
Clapton wasn’t the only massive ‘70s rock act that took Player out on the road. There was Heart, who was promoting 1978’s Dog and the Butterfly LP. And, of course, there was Boz Scaggs.

“Well, you know, the Boz Scaggs tour wasn’t chopped liver, either,” says Beckett. “So we’d already done about two months of 30,000-seat arenas, and then we went back and did the Danger Zone album. We knew we were going on the ‘Slowhand’ tour, so we made the Danger Zone album harder edged so that we were able to go out and support Eric Clapton and have the right kind of music under our belts. So, it all turned out great.”

Too Many Reasons is due out Feb. 26 on Frontiers Records, and it was written and produced by Beckett. Look for a more expanded interview with Beckett and Moss in this blog in the coming weeks. In the meantime, visit www.player-theband.com and www.ronnmoss.com for more information and check out the track listing for Too Many Reasons:

* Photo by Devin DeVasquez-Moss

Too Many Reason track listing:
1. Man on Fire
2. Precious
3. I Will
4. Tell Me
5. The Sins of Yesterday
6. My Addiction
7. Too Many Reasons
8. To the Extreme
9. The Words You Say
10. Life in Color
11. A Part of Me
12. Nothin’ Like You
13. Baby Come Back