Story time with Randy Bachman Part I

BTO, Guess Who main man shares tales from the past, talks up his new live DVD
By Peter Lindblad

Randy Bachman - Every Song
Tells a Story 2014

Randy Bachman just keeps rolling down the highway, carrying a truckload of enduring songs from his days with The Guess Who and Bachman-Turner Overdrive, as well as his solo work.

Along the way, his career in music spanning 50-some years, Bachman has seen it all and lived to tell about it. Which is exactly what he does on a new live CD/DVD package called "Every Song Tells a Story" that's similar to the "Storytellers" series made popular by VH1 in the mid-1990s. It was recorded in April 2013 at Pantages Playhouse Theatre in Winnipeg, Bachman's home town.

In his own understated and lighthearted manner, Bachman candidly shares the compelling stories behind some of his biggest hits, as a video montage offers a seamless visual history of his life and times. Journeying through the social and political unrest of the '60s in America, Bachman talks of Winnipeg's musical groundswell, his struggles to get BTO off the ground and forming a partnership with Burton Cummings, all while performing the classics that made him one of Canada's most revered and successful songwriters.

His legacy includes No. 1 hits in a number of countries, 120 gold and platinum album and singles awards and record sales topping 40 million. And in recent years, Bachman has become a radio personality, his award-winning radio program "Vinyl Tap" allowing him to impart a wealth of knowledge about rock 'n' roll and connect to fans who want to know more about this legendary figure. In this two-part interview, Bachman talks in-depth about his new live "storyteller" release and his own path to greatness.

What prompted you to do this kind of performance? I understand Ray Davies of The Kinks played in this.

Randy Bachman: Well, I’m a fan of Ray Davies, as most people are. He tells the story of The Kinks, and I go backstage and I say, “That was amazing.” And he looks at me and he says, “Well, you could do it better or more amazing than this.” I said, “Well, what do you mean?” He says, “Well, you’ve got two bands. You could tell the stories behind the songs. You’ve got more hits than me.” And I went back to Vancouver after that, this little bit in London, and got asked to do a show for the Canadian Cancer Society – a fundraising dinner, $5,000 a play, black-tie dinner at a big golf country club, everybody’s dressed up and a silent auction is auctioning Harley Davidsons and stuff. This is to raise many hundreds of thousands of dollars for the cancer society, and the people voted that they wanted me as the entertainment. But they said, “Could you come and play for these people? But they’re having dinner. We would blow the plates off the table.” They said, “Can you kind of do an acoustic show?” And I said, “My music doesn’t really translate acoustically, at least the BTO stuff doesn’t. But how about if I sit on a stool and tell stories about how I wrote the songs, and I’ll play a little bit of the songs, and it won’t be a night of blasting it in their faces, because they can kind of talk as they’re having their dinner.” 

So I go there and I do the night and nobody talks when I’m telling my stories. They’re all listening. And I’m kind of frightened at this – that they’re listening to me. And then we play the songs, and when the evening is over, they came and said, “You know if you would put this on a CD or a DVD, we would buy a dozen copies and send it to our relatives all over the world. This is just the most wonderful insight into all these songs we all grew up with. It’s the soundtrack to our lives – our teenage lives, our married lives, our working life and everything.” So I let that go by and then somebody said, “Will you do that storytelling thing again? Will you do it again?” So it became “Every Song Tells a Story,” and I put it chronologically so it’s from the early Guess Who right up to the present. And I did a run last spring, about 38 dates, and near the end was Winnipeg. And my manager said, “Well, if you’re going to be in your hometown, where all these songs originated and you’re talking about Neil Young and the Guess Who and BTO and Portage and Main, and things like that, which is the main intersection in Winnipeg there, let’s DVD it.” So we did it and they put together a montage to show behind me, a visual of where we were – the haircuts, the clothes, the cars, the guitars at the time. So it’s kind of a history lesson of biographical significance if you grew up in Canada and into the States, too – you know these songs. 

Some of the greatest critiques I’ve had is that it’s the most wonderful history lesson of Canadian music, especially out of Winnipeg, that anybody could have, because that’s the music that rocked the world – the Guess Who and BTO and Neil Young were the music that came out Winnipeg that’s still going and still being played on radio to this day. So I’m kind of thrilled that … it wasn’t a big plan. No big producer came and said, “Let’s do this.” It kind of evolved from me just following my passion and getting that idea from Ray Davies and developing the idea, putting visuals behind it, incorporating both bands, taking it on the road, and doing a DVD of it and now this DVD that we put out a little while ago has now gone triple platinum in Canada. It’s triggered now releases in the States, in the U.K., in Germany, in Denmark, and Australia. So I’m doing phoners all the time, and I’m kind of stunned at the reviews. My manager just sent me 40 or 50 great reviews that are just … I’ve never had reviews like this in my life. I don’t know what I’m doing, but it must be something good (laughs). I don’t know what I’m going to do next, but it’s funny, it’s funny.

The tide is turning, right?

RB:  It’s like when you have a hit record. You go, “What did we do that made this a hit record? We’ve got to do it again, but we don’t know what we did. Everybody likes this song, so …” So everybody liking this DVD is really an honor to me and a thrill, and a way of people I guess acknowledging and recognizing that I’ve made a difference in their lives with my music.

I know Winnipeg was ideal for this, and the Pantages Playhouse Theatre was really a great location. 

RB: Well, that was our dream to play there back in the old rock ‘n’ roll days. I mean, I went to that theatre to see the "Dick Clark Caravans." I saw Johnny and The Hurricanes there. I saw The Champs. I saw the Bill Black Combo. I saw everybody there … Dick and Dee Dee, Lonnie Mack. Everybody would play the Winnipeg Playhouse. It’s now renamed the Pantages, but we knew it as the Playhouse. So when you came to Winnipeg, you either played there or the big arena, which is a big hockey arena, which is a big, booming barn. This is a theatre, where you sat down and really got to the see the band and hear the music. So for me to go back there – and it’s all been refurbished and it’s all really quite beautiful – it was really wonderful to go there. They say you can’t go home again, but I went home and it was really, really great. It was wonderful. I went home and celebrated the songs from both bands that I’d written there, and I knew the audience. I must have known everybody in the audience. They were all related to me. I either went to school with them or grew up with them or played in bands with them. I really felt like I was at home in a reunion, so I was very comfortable that whole evening and I really felt warmth and love from the audience, and I guess it shows in the DVD because people are saying it’s really a magical moment that we captured there.

Do you have a favorite moment from that show?

RB: My favorite story of all, which even amazes me, is the entire story of “Takin’ Care of Business,” how I started it in the late ‘60s, was called “White Collar Worker,” how it transformed to become what it became about five years later through an accident at a BTO show when Fred Turner lost his voice and I had to sing, to the pizza guy who came in and brought the pizza and played piano on it … that whole thing is … no writer in Hollywood could have written a better story, but it happened and I tell the story and it’s pretty amazing.

That is a great one, and it’s a longer story and it takes a while to spool out …

RB: I picked that one and that’s kind of appropriate for that night, right? And I tell people it’s a long story, because actually it starts when I went on the “Louie, Louie” tour with “Shakin’ All Over.” (mistakenly credited to The Guess Who's in the U.S. release of the single) That’s when it starts, that’s when I wrote that song. That’s when I met Stanley Greenberg, who was the blind engineer, Florence Greenberg’s son, the engineer at Scepter's studio. So it goes back to the beginning of the show and pulls it right up to the present, so it’s a little bit longer, but the threads pull the people in, because they want to know what happened in between.

You talked of Winnipeg in the ‘60s being like Liverpool. What made it such a vibrant musical community and how were you able to carve out your own place in it?

RB: Well, a lot of things made it vibrant. Winnipeg is about 450 miles away from anywhere else. It’s far to Minneapolis – 450 miles. Regina – 400 and something miles. There’s nothing near it. It’s the dead center of North America, the center of Canada and the center of nowhere. There’s nothing else near it, so consequently, when you’re there, you’re there. So the ethnicity of your parents, if they were from England or Germany, or Scotland, their parties, their bar mitzvahs, their church gatherings, their weddings – all that ethnic music is there. And then the stuff we heard late at night on the radio – because Winnipeg is the top of the Great Plains – so late at night I was able to listen to my little AM radio as Neil Young was listening, too, on the other side of town, and Burton Cummings listening to WLS in Chicago, WNOE in New Orleans, “Cousin Brucie” in New York, “Wolfman” Jack … on a good night I’d get “Wolfman” Jack from some station in Mexico or something, and hear this music that we’d never heard before. It was so exciting. It was called rock ‘n’ roll, and rock ‘n’ roll was starting. We were like 14, 15, or 16, hearing this music for the first time, it was really, really amazing. 

And so when we started a band, the drinking age in Winnipeg was 21, so everyone from 21 on down came to your dance. High school dances didn’t have high school kids. All the older kids came who had graduated came back to their old high school. Being at a high school dance, you had 500 to 800 kids dancing in the gym, and they had already seen it on the rock ‘n’ roll movies, the Allen Freed movies – “Rock Around the Clock” – and they had seen it every week on “American Bandstand.” Everybody knew how to dance and there were 150 bands in this little town of 300,000 people playing every church, every community center … community centers were a building in the middle nowhere, where they’d flood the field in the winter and we’d play hockey on it. And then in the summer they’d put lines on it and we’d play baseball or soccer on it. We had these community centers, and women would play bingo there, and if you had a wedding, the wedding reception would be there. You’d go from the church to the community center, so we had all these high school gyms and community centers, and ethnic halls, like the Jewish Hall or the Polish Hall, where these people went for their weddings and stuff. And we also had friends and relatives in England who would send us this incredible music from England of Cliff Richard and The Shadows and the Telstars, and The Beatles and then all the Beatles clones, Gerry and the Pacemakers and everybody else. 

And we had this great music there, and we’d just all try to outdo each other, even though it was a community but we shared things because if someone got the first bass in town, and Jim Kell had the first electric bass in town and the amplifier, we’d loan it to Neil Young. If we weren’t playing a gig and Neil Young had a gig, he’d call and say, “Are you guys using your amp and bass next week?” And we’d say, “No, you can use it.” So we would take it to the gig and watch him play with The Squires, and then he’d come and see us play the next weekend. It was kind of a “helping each other out” kind of thing, because he’d play his end of town, and we’d play our end of town, and then we’d talk to each school or promoter and say, “Why don’t you book Neil Young and the Squires on our end of town?” And then he would talk to his places and say, “Why don’t you book The Guess Who in my end of town?” And we would trade community centers or halls and get to play other schools. And you’d make like $20 a night, and each guy in the band would get $4 or $5, and that was a big deal – better than delivering newspapers, which was how we earned our money to buy our guitars. We all had a paper route, do you know what I mean? Or mowed lawns … that was it.   

Some of the funniest and most poignant moments had to do with your first trips to America. It was a country at war. What were your initial impressions of the country and how did they change as your career advanced?

RB: Well, there were two things going on at the time. We would play a concert, and a race riot would break out. We’d be in Chicago or we’d be in Minneapolis, and you were told by the promoter, if black and whites start fighting, do not stop playing that song. Play that song forever, because a lot of the people won’t know there’s a fight. There’ll be dancing. They’re hearing the music. The minute you stop and hear a scuffle, they’re going to go and it’s going to turn into a mass riot. So if it’s two or three guys having a fight or four or five guys in the corner, we’ll try to get the bouncers in, we’ll call the police. Don’t stop playing. But that is frightening when you’re playing, and you’re looking down and guys are fighting with knives in front of the stage and they’re black and white guys. I’m onstage backing a black band. I’m with the Guess Who. We’re backing The Shirelles or The Crystals or The Ronettes. We’re thrilled to be backing these black artists, because to us, they were superstars. And here they are fighting in the audience – it was amazing. 

And then some of the towns we went to, we would be the only guys between 18 and 30. Women would come to our dance and touch us like we were aliens. There was no guys in some of these places; they were all drafted. I’m talking about ’67, ’68 – there were no guys. The war was going full-tilt; they were drafting everybody. Then the riots were starting. The students were starting to protest the draft and the war, like, “Why are we at war? Why are we losing our youth to the war in a jungle somewhere, for what purpose? We don’t understand this.” And the whole thing was in turmoil, and here we were on tour, Canadians at the time. They tried to draft us. We came back to Canada and wrote “American Woman” on the spot. “Stay away from me/let me be/we don’t want your war machine.” That was the whole idea behind that. “American Woman” was the Statue of Liberty; that’s what that stood for. It wasn’t the woman on the street. And I tell that story on the DVD. It was like us almost being drafted and coming back to Canada and turning in our green cards. And that night onstage, I broke a string, I wrote the riff, Burton Cummings sang the line, “American woman/stay away from me” … bam, we wrote it, and it was a No. 1 hit.

Yeah, that was an amazing story from the DVD, and it kind of brings me into my next question. You describe your career as a “series of accidents” that you followed wherever they led. Was there a time when you felt most scared that the break you were looking for wouldn’t come, whether that was with The Guess Who or BTO?

RB: Well, the whole thing is, the whole music business, and from my thinking, you have a dream to be like Elvis. You have to have a dream to be like John Lennon. You have a dream to be like Clapton. You have somebody to look to. You have a dream if you’re a kid to be like David Beckham or Michael Jordan, or somebody like that. You have a dream to be like Robert Dinero if you’re an actor or somebody, or Nicholas Cage or somebody like that. So everybody laughs at you saying, “You’ll never be another Dinero. You’ll never be another Clapton.” And then suddenly, they’re paying money to see you act or play or shoot a hoop or play guitar, and then suddenly, they’re buying your record, and suddenly, they’re saying, “You’re the new Eric Clapton.” And so there’s this change if you keep at it. You have Plan A and if you stick to Plan A and Plan B is to stick to Plan A, which is you plan to chase your dream no matter what and climb every mountain that’s in your way and crawl through every gutter that’s in your way and keep chasing your dream and keep doing it, and suddenly you achieve and you become something. And your whole life becomes that. And in a way you’re a spectator and can look back at it and go, “Wow! We broke up 22 times, but the 23rd time we got back together, that’s when it happened,” because if we’d broken up, it never would have happened. 

And you learn to keep going, and then I also learned back when I was writing a song or seeing something or feeling something happening onstage to just let it happen. It’s almost like a psychic. You feel this thing coming to you, this revelation or this story or this fact about someone, you open up and let it come and suddenly you sit there, and you’ve written this amazing song in like five minutes and you write it down. And you go and play it for someone, and you say, “Listen to this,” and they go, “Did you write that? That’s amazing.” And all you can say is, “Yes, yeah. I think I wrote that. I think I wrote it,” because it’s in you and you don’t know where it comes from, and you don’t know if you’ve heard it before. If you play it for someone, they’ll say, “Oh, we’ve heard that. It’s on the new Beatles record, right?” And you go, “Really?” And they go, “Yeah. That’s Side 2, Cut 3.” And you go, “Oh, yeah. That’s a Beatles song. It was on my mind,” but if nobody recognizes it, you claim it as your own and as years go by, you have accolades for having written these songs and that’s what it is, because there’s nothing new. It’s so hard to get something new, and when something comes, I’m quite surprised that I’ve written something new out of all the things I know that are begged and borrowed and stolen. You know what I mean? And if you can shape something new and call it your own, it is in fact a miracle, and on this “Every Song Tells a Story” DVD, I’m celebrating about 50 miracles that nobody called me on. Nobody said, “Well, you stole that song.” They’re saying, “That’s a great song. You wrote it by yourself,” and so I’m excited to have that out there and I frankly tell the stories where the songs came from and what inspired them and all that.

Carmine Appice doing more than just ' ... Hangin' On'

Carmine Appice - 2014

Legendary drummer talks new label, reflects on days with Rod Stewart, Vanilla Fudge, Jeff Beck and others
By Peter Lindblad

Carmine Appice has a lot of irons in the fire, and that's just how he likes it.

Along with his involvement in the recent revivals of some of his classic former bands like Vanilla Fudge, Cactus and King Kobra, to name a few, Appice has started a new record label called Rocker Records – established to release a variety of Appice related records, and possibly those of other artists – and is penning an autobiography.

Long acknowledged as one of hard rock and heavy metal's most creative and influential drummers, Appice has manned the kit for an incredible array of artists and groups, including Rod Stewart, even managing to assist in writing two of Stewart's biggest hits, "Young Turks" and "Da Ya Think I'm Sexy." As part of Vanilla Fudge in the late 1960s, he helped usher in the psychedelic-rock era with his ungodly heavy playing on the band's smash-hit cover of "You Keep Me Hangin' On."

Appice would go on to start Cactus with Fudge bassist Tim Bogert after plans for a supergroup with Jeff Beck on guitar and Rod Stewart on vocals fell apart. Known as the "American Led Zeppelin," although their commercial success was limited, Cactus – which also included guitar player Jim McCarty and singer Rusty Day – was a powerhouse live act and they left their mark, inspiring bands like AC/DC and Van Halen with a particularly combustible brand of boogie-rock. But Cactus didn't last, and neither did another powerhouse supergroup partnership with Bogert, Beck & Appice, but he later landed with Stewart and was quickly swept up in the jet-setting circus that surrounded the singer.

It's been a wild ride for Appice, who recently talked with us about those halcyon days with Vanilla Fudge, Cactus and Rod Stewart, as well as his experiences with Jeff Beck, and everything he has going on these days.

What prompted you to want to start this new label venture? 

CA: Actually, I started working with this guy, Mike Cusanelli, who was involved in … he was involved in World Sound, which is another label and management company. And with that management company, we put a book deal together for myself, for my life story. And the deal is with VH1 books. That’s the same company that did Nikki Sixx and Ace Frehley, and all that stuff. As we were negotiating the deal, we had our house in Fairfield, Conn., and he lives in Fairfield, Conn., too, so his partner said, “Hey, you’ve got to get introduced to Mike, who lives out there and you guys can get together and work on the book,” and blah, blah, blah. So I did that. So Mike, being a records kind of guy, says, “You know, if you have product laying around, you should probably start a record label that would be able to get out your product, and then sell other people’s product – friends of yours that have product that maybe want to release it,” and blah, blah, blah. So, I said, “Really, that’s interesting.” So then he had a talk with the head of eONE, which is our distributor, and he was totally into the idea. So, I thought, “Okay. Let’s give it a try.”

And these first releases are stuff that I’ve had basically in the can, with really nothing to do. They’re from my personal collection. So he says, “Well, let’s get it out to the fans.” 

Cactus - Live in the U.S.A.

Tell me about each of these releases, starting with Cactus Live in the U.S.A.

CA: Okay. We had a DVD years ago – 2006 – that came out on MVD. Somebody in Europe took the soundtrack off the DVD and released it, unbeknownst to us. So, when we found it, we said, “Huh.” And it was selling well, so we worked out a deal with the guy and he paid us royalties, and when I listened to it, “I said, ‘Wow, this sounds really good.’” Now, that has Tim Bogert on it. So you’ve got Cactus with Tim Bogert – the original lineup, except the singer, Rusty Day, who’s been dead since the ‘80s. So I thought that one would be a cool one to release, because it has Tim on it. It was never released in America, so that was that one. And then we went to Japan last year in December, and our deal over there was to record two nights for the deal, and the one night, the second night, we would record also video, which will come out next year. So this Live in Japan is the first night. It’s not complete. It’s a single disc amount – that means like 10 or 11 songs. But it was the first night we played in Tokyo, and it was great. It was a kick-ass show. I mean, we’d never been to Japan before, and the crowd was great. It was sold-out. And Jim McCarty was on fire (laughs), and the band just sounded great. Now this live one has Pete Bremy on it, who’s been our bass player for about two and a half years now, since Tim retired. And he also plays with Vanilla Fudge, which we’re working on some live things with Vanilla Fudge that’ll come out next year, too. So, that’s how those two happened. 

Can we go back just a little bit? That Cactus Live in the U.S.A., what show was that from?

CA: Actually, that was the first show that we had done since we broke up in the ‘70s. So that’s one thing cool about it. It was the warm-up show for the Swedish Rock Festival that we did, which was the next show we did after that a couple of days later in Sweden, which was [in front of] like 10,000 people. So it was interesting how we progressed. But anyway, like I said, someone in Europe took the soundtrack off the DVD, and they sold it and it was selling well. They were selling so many of them on the road, we didn’t know where they came from. And then we figured it out – on the road in Europe that is, where we’d never sold many, maybe one or two imports – but it was never released, so we thought because it was the first show, because it had Tim on it, we thought it would be a cool thing to release to people who were Cactus fans. 

What year was it and where was the show at?

CA: That was 2006 and B.B. King’s in New York. We didn’t want to just say B.B. King’s, so we just said Live in the USA. Because we had other things out with Fuel Records that were live in California that were coupled as a double album with the re-release of Cactus 5. So, you know, we’re just trying to keep some product flowing out. We’re working on a new album, also, which should be out in the first quarter of [2014]. It’ll be more like an EP to start. It’ll be about six songs, and then we have six more songs in the can that are not finished yet. When we get those six done, maybe we’ll re-release the whole thing as one album. But we figure with the way the business is now, it doesn’t really matter if it’s an album or six songs. It’s downloadable, and then most people download them now anyway. So we’re working on that, and then the other two releases, one is Travers-Appice, which is Pat Travers and myself, live from the 2004 tour we did. That was the first night Tony Franklin played with us. We had Sam Stevens playing with us for two weeks before that, and then Tony joined us, and we did another two weeks. Somebody sent me that CD, a live gig. I don’t even know where it came from, but when I got it in the mail in my office in L.A., I played it in the car and I said, “Wow! This sounds great.” And so it sounded great, and I had it in my computer, and I would listen to it on my iTunes as enjoyment, and it really was good. And then we put the label together, and Mike said, “Well, what product do you have that you think we could release?” And I said, “You know, this one might be cool.” I had it in my collection. I mean, it sounds live. It kicks ass. You can hear everything. And so we mastered it and put it on the release schedule. 

Travers & Appice 2013

I was going to ask you your thoughts on playing with Pat Travers. How do you guys mesh?

CA: It was great. We did that first album, which was called It Takes a lot of Balls, which we’re going to do something with that. I don’t know if it’s going to be on Rocker or some other label, if we find a partner that has some other record deal going with some different things. But anyway, when we did that first album, it sounded awesome. I mean, God, it was the best album I’d done in years. And then we went out on the road in Europe, and we did 30 shows in Europe, and they went great. We did another DVD with that, with a company called Escapee. They went out of business. When we released the live album from DVD, they were already going out of business. And then they released the DVD and the live album, and nothing really happened with it. We got the rights back, and the DVD was released by Fuel, and we just had a great time. And then Cleopatra [Records] asked us to do an album of covers, which we did, and that was great, too. I think Pat is a tremendous talent. I love him as a person, and we had gone into a studio on Long Island, my friend Randy’s studio, Electric Randy-Land, it’s called, where we recorded Cactus 5 and some Vanilla Fudge stuff. And we went in there as TMC, and then we put together this song that we never really finished. So I finished it recently with a keyboard player named Alejandro Delvachio, from Italy, a really great keyboard player friend of mine. And he put some keyboard melodies on it, so we put that on as a bonus track. So there’s one studio track on Travers-Appice Live. So, it’s a nice package for the people who were into Pat and I playing together. 

And the last one is Bogert, Appice & Friends, and what that really was was stuff that we’d recorded to release as a version of Vanilla Fudge back in the early 2000s, when Mark Stein and Vinnie Martell weren’t in the band. Now that we have the original members of the band together, except for Timmy, you know, we couldn’t really release it as Vanilla Fudge, ‘cause Mark Stein wasn’t playing on it. And most of the arrangement ideas and everything are suggestions I did. And the picking of the songs, and all that … I mean, I think there’s one original on there, and then there’s a version of the “Star Spangled Banner,” which is awesome. And Brian Auger plays on this track, but it’s recorded really well. We mastered it, and it’s an EP, and it really sounds good. I’m really happy with it. The arrangements are awesome. That’s why the arrangements will sound very Vanilla Fudge-y.   

Bogert & Appice and Friends - 2013

And this is a studio album.

CA: It’s a studio album. So we did “Falling” and “Bye Bye Love,” and “Star-Spangled Banner,” and two original numbers, and then we have “Falling” again with Brian Auger playing organ, which is really, really cool. He plays the hell out of it. So, it’s really interesting. We call it Bogert, Appice & Friends, because that’s what it is – me and Tim and different people.

What are some of the things you want to do for fans that might be different from other labels?

CA: Well, I don’t know if it’s different from other labels. I want to give better deals to downloads than other labels do. And just to be able to release the products worldwide digitally with eOne, because they’re pretty strong all around the world. And to be able to, in some cases, release stuff like we do with this Vanilla Fudge live thing. We’re going to release some of it on vinyl – do some of that collectible stuff. I don’t think we’re trying to do anything that’s different than anybody else that does this kind of thing, but there are labels that won’t release stuff like this … ‘cause really everything’s been done. What can we do that hasn’t been done? I mean, it’s all been done. It’s going the other way now. I mean, really, as far as the record business, even with these downloads. You sell 67,000 units now of downloads and hard copies, you end up No. 3 on Billboard – 67,000 copies of something wouldn’t even get you like in the Top 100. So, really the record business is going the wrong way. Now, it’s all about live shows, really. I mean, Paul McCartney comes out with a new album. Have you heard any tracks from it on the radio? I haven’t heard any of them. There’s an example right there how backwards we’re going. It used to be when Paul McCartney came out with a song it was everywhere. You couldn’t turn on a radio or a television without hearing it. So, anyway, we’re just trying to have some fun and do some creative music, and maybe this band that can’t get a record deal we could release it digitally around the world and get something out.

Do you anticipate having a web site and online store where fans can go directly to buy recordings and merchandise? 

CA: I’m not sure about that actually, ‘cause as I said a lot of the stuff is not going to be physical. It’s going to be a lot of digital stuff. So maybe we’ll have a digital online store, but there are enough of those already. We have a web site now – Rocker-Records.com, which will keep news of what’s coming out and what’s available and all that, and maybe some links to things and you can buy it from iTunes or something. We may do that, but we’re too new. We’re really taking it as it comes. We don’t really know if that’s going to happen, but that is a good idea. And it’s not very hard to set up either. If we have something to have physical CD releases and vinyl stuff, yeah, sure we could put them on our web site, but then you have to have a fulfillment kind of thing. And if you don’t get enough orders, you’re paying people for nothing. I’m not trying to dig myself into a hole, either. I did that in 1988. I had Rocker Records back then, distributed by a small label with King Kobra. We sold 20,000 CDs, for which I was supposed to get like $40,000, and I got nothing because of all the other stuff they had you could sell, and the distributor, instead of giving them their money, they gave them returns. So I got myself into a big hole there. I took some equity off my house to buy some promotion people, and it was on MTV, and it sold. We were selling. Then, of course with the other labels … if I was distributing it, my record by myself and distributing it, we could have made money. There would have been no returns to give. I learned my lesson on that. So we’re just trying to take it easy and little by little, build it and get things going.   

What is your vision for the label? Ultimately, what would you like to accomplish with it?

CA: Well, I mean I’d like to get a bunch of the records out, Mike’s business, I’m creative, A&R type. 

Basically, we got a start. We got advance money to pay for the people to master the stuff and do the artwork, and do this to give everybody a little bit of an advance and to get it out on the market and do a bunch of interviews and do press for November and December. And then in January we’ll get a little more money to cover for some of the releases that’ll come out in the first quarter, and then hopefully, we’ll sell enough where it keeps giving us enough money to keep it. 

Mike had me go and meet with them (eOne), and I was very comfortable with the guy who runs it. He’s actually a fan of mine and a drummer. So I’m comfortable with him, and we felt comfortable doing it. It took a while. We met with him last December, and now it’s 11 months later. It took all that time to get it together. So we’ll see what happens. 

Are there any labels in the past you’ve worked with in the past, or industry people who you’ve admired for the way they’ve done business that you can model yourself after?

CA: Not really … well, I could name one: Len Fico from Fuel. He’s a good guy, and I had all this product laying around – King Kobra, I had a solo album that was never released, I had Cactus live stuff, I had Vanilla Fudge live stuff, all this crazy stuff. All totaled, it was like 13 albums, pieces of product. And he actually did a deal with me for it. He gave me an advance. I paid everybody involved advances, and then, within a year and a half, he had sold everything, and we were in the black instead of in the red with him. And he does a good job. As a matter of fact, we just relicensed a Vanilla Fudge product we had with him a few months ago. I really like him. He’s an honest guy; he’s not a rip-off. You can get him on the phone, and then he’d have like all these CDs, and all these stores have closed, there’s nowhere to sell these CDs, and he’d just take them, and nobody was buying them, and he’d sell them at your gigs. Nice guy, you know, and he gave me hundreds of CDs, and we’re still selling them at gigs. When I do my clinics, I’ve got all these different kinds of CDs to sell – Derringer & Appice, my first and second solo albums, it’s a double thing, and a double package King Kobra album. I can’t remember all of them (laughs). Actually, he did a Carmine classics DVD, which had a little bit of everything on it. Every six months I get royalty checks from him, and it’s good – all the publishing, you know. I would say if there was any indie label to model after, it would be his, because he’s an honest guy and he pays everybody. Versus, you know, I got deals with labels in Europe, including that label that released that product they weren’t supposed to release. They weren’t supposed to release that. And I made a deal with an English label that supposedly licensed it to him, but he tells me he didn’t do it. But if he didn’t do it, why is he paying you? Stuff like that, rip-off people, and then when I crossed him, the guy in England, I had him pay me the money, and he did the same deal that Len Fico did with Fuel at the same time. And he has not anywhere near recouped. And he’s got all of Europe. He’s got Europe and Japan. Len’s just got the U.S. Not even Canada. My label, we’ve got Canada, too. And we’ve got Japan. We’re working on Japan. And Europe is hard because all these labels are rip-offs. So now, that guy there that did that deal for that soundtrack, he paid me the royalties that were due, but then since then, the royalties for January to June were supposed to be paid by August and I’ve got to chase him down. This guy wanted to be our distributor for Rocker Records in Europe. How the hell are you going to do this? You can’t even pay the royalties on time. We’ve got another guy who is a promoter, and he’s a bit better, but still, the guy loses track on when he’s supposed to pay your royalties. I mean, with Len, I just call him when I know the royalties are due. I say, “How are we doing?” And he goes, “Well, they’ll be ready next week, and I’ll send it out to you.” I mean, in September, when the royalties were due at the end of August, on Sept. 10, I called him, and I said, “Are you going to that event?” And he said, “Look, I’m going to that event. I’ll just bring you the check.” And he handed me the check, and I take that and I pay everybody who is due royalties. And the European guys, it’s the same with Japan. They never pay the royalties on time. I had a deal with a big company, Virgin Pacific. This is Virgin, you know? Virgin-Pacific, it’s all one company. I never got a royalty statement … We’re going to try not to that (laughs).   

How did you come to join Vanilla Fudge and what do you remember most about those early years?

CA: Well, we were all just playing gigs around New York at the time, and I was in a soul, R&B kind of band. We had horns and stuff, and one day, these guys came into a club where we were playing and said they heard about me, that I could sing. I could sing lead and harmonies. And that I had a great right foot and that I was technically a pretty good drummer. And they had this thing going on with this manager in Long Island, and they were going to try to make it in the record business and all that. I actually didn’t know whether to take them seriously or not, because I was doing good. I was making $200 a weekend, not having a day job at the time. It was ’66 or ’67. I had a brand new car. It was my second new car. I was only 19 years old, and I didn’t know if I wanted to make a change, but then they told me what they were doing, and I went out and played with them and they were all f—king great. And I said, “Okay, let’s do it.” And nine months later, we had a record on the charts. That scene … we used to call them “production numbers,” slowing the songs down, putting what we’d call “hurting” lyrics and drama into the songs. The Vagrants were doing it, and they were drawing big crowds, but they could never get a record happening. We got in, and luckily, “Keep Me Hangin’ On” was the one. It just broke out all over the place, and it took the album to No. 4, and it only went to like No. 70 on the charts. We had a Top 10 record without having a Top 10 single. 

[Talking about the second Vanilla Fudge album] Ahmet Ertugen and Shadow Morton, it was their baby. We were new kids. We had a good f--king album. We didn’t know the business. They’re telling us we’re going to be the biggest thing since the f--king Beatles. What did we know? We didn’t even know what it was going to sound like until we were done. When we heard it, I said, “Holy sh-t, this is weird.” It’s a f--king strange album. And they’re going, “Yeah, you can take it on the road and have film in the background, and make it like a whole weird, cool light show and film.” Yeah, right. It came out and went up the charts and down the charts. And then we had to rush in and do another album, and then we had another song that went on the Top 20, and then they re-released “… Hangin’ On” and the other album went up into the Top 10. Before you knew it, we had three albums on the charts. The Beat Goes On was like No. 90, but the other two were in the top 20. One was in the top 10, the other was in the top 15, and the single was No. 4. But had we not done an album like that, and done an album like we had done before, it would have probably went platinum, like Queen and Hendrix and all the other people out there, because we were at the top of our game on that first album. And momentum got f--ked up by the second album. It took the third album to try and build it [back] up, and it didn’t quite do it … we didn’t have the big hit single off that one. Luckily, “… Hangin’ On” was one big single that could take the other one into the top 20, but that’s it. And “Shotgun” I guess was top 20, but it probably would have been bigger had we not released that album. 

You guys decided to remake so many songs in your own image. What was it about "You Keep Me Hanging On" that made you want to record that one?

CA: The lyrics, the lyrics. Yeah, if you listen to the lyrics, we used to call those lyrics “hurtin’ lyrics.” If you’re an adult or in love when you had a girl or a wife, and you were in that situation, you would be singing it (in a high, feminine voice), “Set me free why don’t you, babe” – like a happy song. So we just slowed it down, with all the songs – “Eleanor Rigby,” “People Get Ready” – we tried to fit the mood of the song with the lyrics, and musically feed that into the song and create a whole new environment for the song. “People Get Ready” was sort of a gospel-y message, so we did it like a church, with the organ and the vocals. “Eleanor Rigby” was a spooky, at the church graveyard [kind of song], so we did it sort of like a horror movie. “Season of the Witch” – same thing, you know, for “Bang, Bang.” We just slowed it down and added the introduction to “The King and I” – that psychedelic, trippy stuff, because it was sort of like a trippy song. “Take Me for a Little While” we rearranged a little bit, but it’s more of a straight-ahead thing. For “She’s Not There,” we just rearranged that and slowed it down, again with the same kind of drama.  

You touched in this before, but what was different about Vanilla Fudge with regard to other groups of that era, besides the fact that you did covers?

CA: Well, No. 1, “ … Hangin’ On” had such a powerful … you know, The Rascals were big at the time, and we sort of blew them away with what they were doing to the extreme. And it’s just like Led Zeppelin took everybody else who influenced them, from Hendrix to Vanilla Fudge to the Cream and everybody else, and took what they were doing – especially The Jeff Beck Group – to the extreme. And that’s why they were so big, but “You Keep Me Hangin’ On,” it was such a shock, because nobody really did covers in those days. If they did, they were doing them the same way as the original. But the way we did it, we shocked so many people. I remember reading things that Eric Clapton and George Harrison and Jimmy Page and Jeff Beck and all these people knew exactly where they were the first time they heard that, because it left such an impression on them. And why? Because it was a white group playing really heavy, but soulful – so heavy soul wasn’t really in yet. White, blue-eyed soul was cool. That was what The Rascals did and the Righteous Brothers did, but nobody did it heavy – with big amps and the big drums, the powerful drum sounds. And because we cut actually … “ … Hangin’ On” was cut in mono, I don’t know if you knew that or not. It was a mono track, and the drums were one of the loudest things. In the way I played and the tuning, it created a really heavy drum sound, which was the model that Led Zeppelin used for Led Zeppelin, with John Bonham, that really heavy drum sound. And really, “ … Hangin’ On” is the only track that had that sound on that album, but it created such a landmark drum sound that it was sort of copied. And it was the same with the bass. You had Tim (Bogert) playing like (Motown bassist) James Jamerson, but playing through five Dual Showman amplifiers. And live, we were crazy. You look at the “Ed Sullivan Show,” you look at the way we played – the drama, the excitement, just what we did – it was pretty long. Nobody was doing that. We all sang with four-part harmony and it was great, and Mark Stein was a tremendous f--king soul singer – a great singer, a really great singer. That vocal on “You Keep Me Hangin’ On” is awesome. “Take Me for a Little While” … awesome. “Eleanor Rigby” … awesome. He was definitely the best singer in the band. I always thought I sang okay. People think I’m better than I think I am, but I sang lead throughout my career. I sang doo-wop things in Brooklyn and so did Mark. So between him and me, we taught Vinnie and Tim the vibratos and we all worked together on the vocals a lot. I remember it was ’68 or ’69, when Billboard magazine had their awards it used to be just one page in the Billboard magazine, and The Beatles were No. 1 vocals and Vanilla Fudge was No. 2. I said, “Wow!” If we had that now, we’d be on nationwide television getting an award.             

When you and Tim decided to go off to start Cactus, what was going on with Vanilla Fudge that made it seem like that was coming to an end?

CA: Well, it started changing. Like in ’69, basically, things started changing. You had the Jeff Beck Group starting to get big, Led Zeppelin was starting to get big, and then there were all these other bands coming out, like Deep Purple, who copied Vanilla Fudge and then they started getting heavier. Like we had a song called “Good Good Lovin'” which was really the blueprint for Deep Purple – a really heavy, bottom-y organ, heavy guitar, heavy bass … you know, it was a heavy sound. It was a song called “Good Good Lovin'.” You listen to that song, you go, “Wow! This sounds like Deep Purple.” And that was done before Deep Purple started getting heavier.

But a lot of these guitar bands were coming out – The Who were getting big at that time as an album band and a concert band, not just a singles band. So me and Tim, we were kind of fed up with the organ and everything slow, and no real energy. So we started doing things like “Need Love with Vanilla Fudge,” which was more rock-y. If you look at YouTube, it has hundreds of thousands of hits on it now, but you could almost hear some Led Zeppelin in there, at the beginning of Zeppelin, the way we played. But it was starting to change in music. So we had heard that Jeff Beck loved me and Timmy’s work on “Shotgun” and wanted to start a band with us. In fact, John Bonham told us that. So we had a talk with Jeff, and he wanted to definitely do it, and he talked about having Rod Stewart as the singer, before Rod went solo. That was the plan. It was going to be me, Rod, Jeff and Tim, and in those days, you didn’t just do a side project, because everything was one project at a time. And at the time, Blind Faith had just come out.

Super groups were sort of cool, and Mountain – Leslie and Corky were getting together with Jack Bruce. So this was going to be our super group. So when we were supposed to meet with Jeff at the end of ’69 with his manager, Jeff got in this car accident. And that was the end of it, but we had already broken up Vanilla Fudge, so we had to go with plan B and plan B was Cactus, and we put it together with Jim McCarty and Rusty Day. But it never quite did what we wanted it to do. We did okay. We toured around the world. We did all the biggest festivals, played in front of hundreds of thousands of people, hit the charts and went Top 30, but we never got as big as Vanilla Fudge did. 

Hugely influential though.

CA: It was an influential band, just like Vanilla Fudge was. And why neither one of them are ever even mentioned in the Rock and Roll Hall of Fame, I’ll never know, especially Vanilla Fudge. We took out everybody with us, opening up for us. Frank Zappa opened up for us. I mean, Cactus had Bruce Springsteen open up for us. You know what I mean? It’s just crazy. And then they worry that Alice Cooper didn’t get in. Okay, they’re right. Alice Cooper should be in there. Certainly the freaking rap artists shouldn’t be in there. If they throw those kinds of acts in there, they should call it the Music Hall of Fame, not the Rock and Roll Hall of Fame. But then Jeff Beck is in there twice. I mean, The Yardbirds are in there. Why are The Yardbirds in there and Vanilla Fudge isn’t in there? The Yardbirds were never that big here. Is it because they spawned the three guitar players? Vanilla Fudge spawned me and Timmy (laughs). 

When Jeff had his accident and Rod decided to join the Faces, was that a long, prolonged thing, or did you realize it was over right when Jeff had his accident?

CA: Yeah, I mean because Jeff was going to be 18 months recuperating. He had a concussion and all that shit, so we put Cactus together and we went out and started doing our gigs. In ’70, we played a lot of cool gigs. We played with The Who, we played with Hendrix, we did a lot of festivals. We did the Atlanta Pop Festival, we did Strawberry Fields, we did Isle of Wight, we did festivals in Germany, we played over here – we got big in a lot of areas. New York, we played four shows at the Fillmore. It was packed. Memphis, we did shows at 2,500-seaters, and it was packed. And we'd go out with Ten Years After. So we have a two-, two-and-a-half-year stint of playing and doing Cactus, and everybody loved us. And then we got thrown off tours because we were too good.

So our singer before he left, he really knew how to get an audience in the palm of his hand, and the band, we had a really high-energy band, and a lot of bands couldn’t follow us because we had so much good stuff going on. And then Jeff Beck came back with his Jeff Beck Group, but he soon got sick of that. And that year, because he didn’t do it for like a year and a half after we had Cactus, he got sick of it quick and in the summer of ’72, I think it was – we were doing ’70 and ’71 and ’72 with Cactus – he asked us to come on the road with him and replace Cozy (Powell) and the bass player (Clive Chaman) and he got a new singer, and this will be a start. We always had management stuff, so we discussed that this would be the start of the thing, and we’d probably call it Beck, Bogert & Appice. But we didn’t want to make it a big hype. We wanted to gradually build into it. So that’s what we did, and then, before Rod joined the Faces, he bowed out of the thing, even before Jeff was going to come over. He didn’t want to work with Jeff because he had some financial problems, which I’ve had many times in my career with Jeff as well (laughs). I’m writing my book now for VH1, so all these stories are in detail.    

Cactus put out three studio albums in rather quick succession. What spurred all that creative activity?

CA: That’s what you had to do back then. Your record deals had two albums a year, and Vanilla Fudge did, too. You notice all the bands back then had a lot of product? That’s because all the record deals were two albums per year. 

So it was all the record companies with the lash saying, "Put something out?"

CA: Yeah, I mean the record companies owned, and they still own, the product. That doesn’t happen now. Or maybe it does, I don’t know. I haven’t had a major record deal like that in ages.

How did the short turnaround time affect the work and the band members?

CA: We were all doing that. We all did that. Before us, Rusty was with Ted Nugent. They were doing it. Before us, Jimmy was with Buddy Miles. They were doing it. It was just one of the things you knew you had to do. You’ve got a record deal, it clearly says, “Two albums.” Yeah, you might go over, and have two albums in 14 months, but it’s still not like it is now. Now, everybody is one album every two years, if that. But then again, now, there’s no record business like there used to be. 

What led to Jim McCarty and Rusty Day entering the band and then leaving Cactus? 

CA: Well, as far as entering goes, we had to look for somebody. We tried some unknown guys out there. It didn’t work. We always liked the way Jim McCarty played with Mitch Ryder and the Buddy Miles Express. So a friend of ours that lived in New York, he was signed to my management company, knew McCarty and said, “Let me call him.” And so he called him, and McCarty was interested. We flew him out, and we had a jam with him and it was great. And then McCarty recommended Rusty, because they’re both from Detroit. And then McCarty got fed up with Tim’s playing, because Tim’s a lead bass player, and he left the band. And then we got another guy in, Werner (Fritzschings), and then we brought Duane Hitchings in, who was the actual guy we got McCarty from. He played keyboards. And then we got an English singer, because Atlantic wanted Rusty out because they never liked his voice. And we were on tour with The Faces. They wanted somebody to sing like Rod, because Rod was the happening, “in” thing at the time. So we got an English singer who sang similar to Rod, and we did the “’Ot ‘N’ Sweaty” album, which did great, and that album was interesting because that album influenced AC/DC. AC/DC used to do that album in its entirety I was told.

Is that right?

CA: Just like Van Halen used to do Cactus songs and BBA songs. I have tapes of them doing that. I have tapes of them playing BBA and playing Cactus songs. It’s great. 

The Beck, Bogert and Appice partnership was a real whirlwind. In what ways was it exactly what you imagined it would be and in what ways was it nothing like you thought it would be? 

CA: It was totally what I expected in the music department, except when we did the album, we wanted the guitar louder, and Jeff made the bass and drums louder, because he loved the way we played at the time and he wanted us to be more featured. And we expected it where Jeff’s name was big, us coming along would make him bigger and we thought where we were big and Jeff was big, we would be really big. And when me and Tim were sounding big, it made for a stronger package. But we were averaging a 10-thousand set night, every night – a 10,000-seater. I mean, Jeff, when he joined BBA, he was doing maybe 4,000 people, if that. And Cactus was doing 4-5,000 people in different markets. It was very similar, but together, we were really f--king strong. We were strong, but then the same thing happened with Jeff that happened with McCarty. After awhile, Tim would overplay, and guitar players don’t like it, because they think it gets in the way of the guitar. But then with Jeff, it was even crazier, because he was like … you know, we did the second album twice, and we finally decided to record it live in London, and that was our last gig, and then he never lived up to the contract, and it was just a mess. 

Did that live album capture what you were all about?

CA: Well, it did, but we didn’t like it, because they left all the mistakes in there. We didn’t get a chance to fix anything. I mean, that was what we were about live mostly, and then the last album we did came out of the bootleggers, this f--king monstrous bootleg that sold around the world. It was so big that when me and Tim in 1999 went to Japan, we played a number off that bootleg album and the whole audience of 8,000 people knew it. When we mentioned the name of it, everybody f--king cheered. It got an amazing response. We released that album, and it would have brought mine and Tim’s name up to more of a household name, but then I went on to play with Rod, and my percentage of Rod, which was small, was the biggest financial (payout) monetarily (I had). It was bigger monetarily than a third of BBA (laughs).

What are your memories of working with Rod and specifically the tracks "Young Turks" and "Da Ya Think I'm Sexy"?

CA: Well, the memories were great, just great. I mean, what can you say? I mean, Rod was God at the time. He just took off in his solo career – huge, bigger than The Faces. I mean, we did six nights at the Forum and five nights at the Garden, and five or six nights all over the world in 20,000-seat venues. And the private planes … you know, I never took a bus in my life until I played with Ozzy. We got wardrobe girls and masseuses with us, and we got paid good money. The audiences were just unbelievably responsive, to the point where they would sing all the songs. They would sing all the songs by themselves – “Maggie May” and all that kind of stuff. I’ve never experienced anything like it in my career. And writing a hit song that was so big, I’d never done that. I mean I wrote songs for the BBA record and songs I’d done completely myself which I shared writing on. I had songs on Vanilla Fudge albums that went gold and stuff, but I never had a song go No. 1 in 10 countries and stay at No. 1 for weeks at a time, a song that I’d written. It’s like, “Holy crap! This is unbelievable.”

As a matter of fact, we’re putting together – it’s getting finished now – it’s called the “Rod Experience.” It’s guys from the Rod Stewart band – different eras of the band from ’76 to ’82 and also like, another guy, Jimmy Crespo, that played with Rod for three years and also played with Aerosmith – and we’re doing the Rod show. I got a guy that looks just like Rod, and we’re doing a historical Rod tribute show. It’s sort of like what The Rascals are doing now, but a little different. They’re doing their history and how they missed 40 years of everything. We’re just going to talk about how “Da Ya Think I’m Sexy” came about, how “Young Turks” came about, what it was like to be on the road with Rod – just little tidbits of stories. And they’ll be delivered by video camera onstage, and that kind of thing – just historical things that only we would know being in the band.

What was it like being on the road with Rod? 

CA: It was amazing. It was amazing. It was a lot of fun – a lot of fans all the time, big money. It was amazing. And there was this thing called the “Sex Police,” which was just crazy, where anyone who had a chick, the Sex Police would break into their room and stop whatever they had going on. And Rod would participate in that stuff. We would lock people in their rooms – crazy stuff, a lot of fun. It was a great band. We were the Rolling Stones, you know?

I wanted to touch on other bands your experiences with other bands, including Blue Murder and King Kobra. What are some of your favorite memories of being in those groups?

CA: Well, like Blue Murder was great, especially when we went to Japan, because the band was huge over there. We don’t know why. I guess it was because it was a superstar band. It was funny for me because they had Burn! magazine over there, it was a big magazine. They were saying that Blue Murder was the trio of the ‘90s, and they said they were just like classic trios. And they did Cream, Hendrix and BBA, right? So they did that, and I felt really good because I was in a new band of the ‘90s, and I was also in a classic band with BBA. And then we had 12,000 people at our shows in Japan, which was amazing. So that was great. Well, you know, King Kobra for me was my retaliation for getting fired from the Ozzy tour. Sharon (Osbourne) fired me and told me, “You need to find your own band.” So, I did. And it was really lucrative at the beginning. We all got some big deals on Capitol and big merch deal and all that, but then Capitol never really did their job. They never really got the hit single. So King Kobra became like a cult band.

Now that you have Cactus going again and Vanilla Fudge, what’s been most gratifying about reviving those projects and playing those songs again?

CA: It’s playing the songs again, and then seeing people’s reactions. Like we just went up to Bethel Woods, the site of Woodstock, with Vanilla Fudge a month ago, and we got an amazing reaction. And then, by the same token, Friday night we played Detroit in a small theater called The Magic Bag, a good rock venue. It was packed and the audience was amazing. We got a great response and so, just playing the songs again and playing them again for people that really appreciate it. The interesting thing for me is I’m getting to do everything. In the old days, you could either play with Cactus or Vanilla Fudge, or King Kobra. Now, I get to play with Cactus and Vanilla and King Kobra, my “Drum Wars” show with my brother Vinnie, and then this new Rod show. It’s interesting that there are some gigs on the horizon for King Kobra next year. And it’s funny. I get to play with all three bands in the same year. That’s pretty wild. It reminds me of the days of my idols, Gene Krupa and Buddy Rich. In the heyday, they were playing big theaters; then, as they slowly grew older, they played with different people. You’d see some of these quartets featuring Gene Krupa, and then he’d do an album with them, and several months later you’d see another album. So, I see that happening with my career, playing with different people and just having a good time. 

I never really made that connection, but because that’s what those guys did, so, naturally, you’d follow them. 

CA: Yeah, well, I’m following, not only lead guitar players … and back in those days Gerry Mulligan would play with Gene Krupa, or the Tommy Dorsey Quartet would play with Buddy Rich for a tour and an album. And then Buddy Rich would play with Frank Sinatra, you know what I mean? They’d jump around. They did all kinds of gigs. They’d play dinner clubs to theaters and some festivals, may open up some arena gigs.    

Carmine Appice's new label, Rocker Records, is set to launch

Carmine Appice 2013

Revered by legions of high-profile musicians, including Led Zeppelin’s John Bonham, as one of the most innovative and powerful drummers that rock and roll has ever seen, the legendary Carmine Appice needs no introduction.

Now, the man whose soulful pounding powered the uniquely heavy psychedelia of Vanilla Fudge’s mesmerizing late-1960s remake of “You Keep Me Hangin’ On” up the charts and later co-wrote Rod Stewart’s smash hits “Da Ya Think I’m Sexy” and “Young Turks” is launching an exciting new record label, Rocker Records.

The first four releases are due out Nov. 19 as digital offerings, and they include Bogert/Appice & Friends, TNA (featuring Appice and guitar master Pat Travers) Live in Europe, and two concert recordings from his highly influential post-Vanilla Fudge group Cactus, Live in Japan and Live in the USA. Expect a bonanza of Appice-related material to flow from this new pipeline.

Information regarding these and other upcoming releases can be found at www.rocker-records.com and www.facebook.com/carminerockerrecords.

It was a meeting with Mike Cusanelli, from the record label and management company World Sound, that provided the impetus for the new venture. Wondering out loud, Cusanelli suggested an idea to Appice that sounded very appealing.

“Mike, being a records kind of guy, says, ‘You know, if you have product laying around, you should probably start a record label that would be able to get your product out, and then you could sell other people’s product – from friends of yours who have product that maybe want to release it,” explained Appice. “So I said, ‘Really, that’s interesting.’ So then he had a talk with the head of eOne, which is our distributor, and he was totally into the idea. So I thought, ‘Okay, let’s give it a try.’ And these first releases are things that I’ve had basically in the can, with really nothing to do to them. They’re from my personal collection. So he says, ‘Let’s get it out to the fans!”

That’s just what Appice and Rocker Records plan on doing.

“It’s going to be a lot of digital stuff,” said Appice. “So maybe we’ll have a digital online store, but there are enough of those already. We have a web site now, rocker-records.com, which will keep news of what’s coming out and what’s available and all that, and maybe provide some links to things you can buy from iTunes or something. We may do that, but we’re too new. We’re really taking it as it comes.”

Appice discussed each of the four initial recordings:

Cactus Live in the USA

http://tinyurl.com/l3y5x42

https://itunes.apple.com/us/album/live-in-the-usa/id731019984?ls=1

Cactus - Live in the U.S.A. 2013

Recorded in 2006 at B.B. King’s in New York City, this heaping plateful of hot and heavy boogie-rock documents the rebirth of the original Cactus lineup, minus singer Rusty Day, who died in the ’80s. “Actually, that was the first show we’d done since we broke up in the ’70s,” said Appice. “So that’s one cool thing about it. It was the warm-up show we did for the Sweden Rock Festival, which was the next show we did after that a couple days later before 10,000 people.” This record has an interesting story behind it. “We had a DVD years ago – 2006 – that came out on MVD,” said Appice. “Somebody in Europe took the soundtrack off the DVD and released it, unbeknownst to us. So, when we found it, we went, ‘Huh?’ And it was selling well, so we worked out a deal with the guy and he paid us royalties, and when I listened to it, I said, ‘Wow, this sounds really good.’ And it has Tim Bogert on it. So you’ve got Cactus with Tim Bogert.”

Track listing:

1. Long Tall Sally

2. Swim

3. One Way or Another

4. Cactus Music

5. Brother Bill

6. Muscle & Soul

7. OLEO (Bass solo)

8. Part of the Game

9. Evil

10. Cactus Boogie

11. Parchman Farm

12. Rock & Roll Children

Cactus Live in Japan 

http://tinyurl.com/mnzowpk

https://itunes.apple.com/us/album/live-in-japan/id731012135?ls=1

Cactus - Live in Japan 2013

The current version of Cactus went over to Japan in 2012 to record two shows, one audio and one video, “which will come out next year,” according to Appice. He describes that first performance as a “kick-ass show,” and it is an absolute barnburner, with Cactus rolling through classics such as their versions of Mose Allison’s “Parchman Farm” and Willie Dixon’s “You Can’t Judge a Book (By Lookin’ at the Cover),” plus “Rock & Roll Children” and “That’s Evil.” Appice said, “Live in Japan is the first night. It’s not complete. It’s a single-disc. But it was the first night we played in Tokyo, and it was great. It was a kick-ass show. I mean, we’d never been to Japan before, and the crowd was great. It was sold-out, and (guitarist) Jim McCarty was on fire, and the band just sounded great.” Pete Bremy is the bassist for this occasion.

Track listing:

1. Swim

2. One Way or Another

3. Brother Bill

4. Can’t Judge a Book (By Lookin’ at the Cover)

5. Alaska

6. Electric Blue

7. Muscle & Soul

8. Evil

9. Parchman Farm

10. Rock & Roll Children

TNA (Travers & Appice) Live in Europe

http://tinyurl.com/meylep3

https://itunes.apple.com/us/album/live-in-europe/id731026323?ls=1

Travers & Appice 2013

Take two sublime musical talents like Pat Travers and Carmine Appice. Let them go at it, and the results will be magical, like they were for their album, It Takes a lot of Balls. As Appice recalls, “It was the best album I’d done in years.” In 2004, they toured together and brought the house down everywhere they went, playing 30 shows in Europe. This night was no different. “That was the first night Tony Franklin played with us,” said Appice. “We had T.M. Stevens playing with us for two weeks before that, and then Tony joined us, and we did another two weeks. Somebody sent me that CD, a live gig. I don’t even know where it came from, but when I got it in the mail in my office in L.A., I played it in the car, and I said, ‘Wow! This sounds great.’ And I had it in my computer, and I would listen to it on my iTunes for my enjoyment, and it was really good.” The versions of “Da Ya Think I’m Sexy” and the Travers classic “Boom Boom” are full of vim and vigor, and there is one bonus item, an unreleased studio track that Appice finished with keyboardist Alessandro Del Vecchio.

Track listing:

1. Taken

2. Better from a Distance

3. I Don’t Care

4. Crash and Burn

5. Livin’ Alone

6. Tony Solo

7. Gotta Have Ya

8. Keep on Rockin’

9. Snortin’ Whiskey

10. Can’t Escape the Fire

11. Evil

12. Da Ya Think I’m Sexy

13. Boom Boom

14. Stand Up

15. Funkified

Bogert/Appice & Friends

http://tinyurl.com/mogfuru

https://itunes.apple.com/us/album/friends/id731027537?ls=1

Bogert/Appice & Friends 2013

Made up of studio recordings Carmine Appice and Tim Bogert did in the early 2000s, this six-song EP has the feel and spirit of Vanilla Fudge’s finest work. “We mastered it, and it’s an EP, and it really sounds good. I’m really happy with it. The arrangements are awesome, and the arrangements will sound very Vanilla Fudge-y,” said Appice. “We did ‘Falling’ and ‘Bye Bye Love,’ and ‘Star-Spangled Banner,’ and two original numbers, and then we have ‘Falling’ again with Brian Auger playing organ, which is really, really cool. He plays the hell out of it. So it’s really interesting.”

Track listing:

1. Bye Bye Love

2. Falling

3. Black Box

4. Eternity

5. Star-Spangled Banner

6. Falling (bonus cut)