Turn the radio to FM

Melodic hard-rock favorites return with 'Heroes and Villains'
By Peter Lindblad

FM is Steve Overland, Pete Jupp,
Merv Goldsworthy, Jem Davis
and Jim Kirkpatrick

A band like FM was never going to survive the grunge revolution. They could see the writing on the wall in the mid-1990s and decided they weren't going to swim against a rising tide of record label indifference.

"We, or should I say our whole genre of music, became very unfashionable with the Grunge explosion," said Steve Overland, leader singer for the U.K. melodic hard-rock outfit. "Recording (1995's) Dead Mans Shoes was a bit of a struggle as we had limited budgets. It just seemed to be the right time. There was no animosity in the band. We all still got on. We just all felt we’d taken FM are far as we could at that time."

Formed in 1984, as ex-Samson members Merv Goldsworthy and Peter Jupp joined forces with Wildlife's Overland brothers, Steve and Chris, as well as keyboardist Philip Manchester, aka Didge Digital, FM enjoyed more than a modicum of success, especially in their native country.

They built a devoted following while touring in support of such musical giants as Meatloaf, Tina Turner, Status Quo, Gary Moore and Magnum, and there was that time they rocked the Hammersmith Odeon with REO Speedwagon. FM's big break, however, came late in 1985, when Bon Jovi brought them aboard for the U.K. leg of the "Slippery When Wet" tour.

Through changes in record labels and personnel, FM persevered, penning well-crafted, radio-friendly fare that, for whatever reason, rarely ever made the airwaves. Not even a writing summit with hit-making guru Desmond Child in the States would do the trick. And when labels went scouring the land for the next Nirvana, Soundgarden or Alice in Chains, FM knew its days were numbered.

Then, in 2007, FM returned to headline Firefest IV at Nottingham Rock City, and the crowd embraced these prodigal sons of pop-metal. The experience convinced them to carry on, leading to the recording of 2010's Metropolis LP and playing out with bands like Europe, Thin Lizzy and Foreigner and performing at high-profile events such as Graspop, Sweden Rock Festival, Loreley and Download Festival.

Five years later, FM is following up with a new Frontiers Music release dubbed Heroes and Villains, with Goldsworthy (bass), Jupp (drums), and the golden-voiced Steve Overland (lead vocals/guitar) teaming with keyboardist Jem Davis – Digital's replacement, who appeared on Dead Man's Shoes – and lead guitarist Jim Kirkpatrick.

Steve Overland talked about with All Access recently by e-mail to discuss the new record and share some memories of FM's heyday.

What’s the significance of the album title Heroes and Villains?

Steve Overland: There’s no real significance. Merv came up with the idea for the title, we thought it was great and that’s it. Nothing sinister or deep. Just all the band liked it, very simple really.

In what ways does Heroes and Villains remind you of earlier FM albums, and in what ways is it different?

SO: We’ve always been known for big choruses, huge hooks, [and] melody, but by using modern studio techniques, we’ve tried to make our sound more contemporary and modern. Whenever we record we always try and take what we consider the essence of the FM sound and bring it up to what’s happening now.

With the last record, 2010’s Metropolis, you had two songs play listed on national radio in the U.K. for the first time. How did that affect you personally and the band as a whole? Did you see it as validation that had been a long time coming?

SO: We’ve had four songs play listed on Radio 2 I think. We’re getting more play on National radio now than we ever did, which is great. It’s weird when people, or your auntie, come up to you and say they’ve heard you on Radio 2. We’re not complaining at all. It shows they think we’re still relevant. 

“You’re the Best Thing about Me” and “Life is a Highway” are just such perfectly crafted songs. Talk about the making of both and your feelings about them after hearing them on the record.

SO: Those were two of the last songs we recorded for Heroes and Villains. "Life Is A Highway" is definitely old school FM. Steve had had the idea kicking around for a while. Merv really liked the vibe, and so we went into rehearsals and arranged and finished it quite quickly. "You’re The Best Thing About Me" was another idea Steve had. We demoed it and presented it to the guys. From what I can remember the arrangement is identical to that of the demo, but everyone has put their stamp on it.

FM - Heroes and Villains 2015

Heroes and Villains does not sound like records that are out there today. Like you don’t hear a song such as “Walking With Angels” out there today. What do you think is the biggest difference between the songwriting of FM and songs mostly heard on the radio today? Are there any similarities?

SO: I think we sit perfectly on radio stations like Planet Rock, and they are very supportive, but then they’re not going to play EDM or One Direction. We’re never going to fit in with the Radio 1 demographic. It’s a million miles away from what we do. We’ve been play listed on Radio 2, so we obviously fit in there. We write rock songs, but to us, melody is king. "Walking With Angels" is maybe a departure from the norm to us, but it’s such a great song. We just wanted it to be very simple and organic, personal. It has had such a great reaction. We’re glad we believed in our convictions.

FM went out on the road with some of music’s biggest names in the ‘80s, including Bon Jovi on the U.K. leg of the “Slippery When Wet” tour. What tour did you enjoy the most and what was the worst?

SO: The Bon Jovi tour was just so good for us. It was right around the time they went global with Slippery When Wet. It was infectious to be around them with all the excitement. I think we were in Newcastle when they heard they had hit the No. 1 spot in the States. They were a great bunch of guys, great to work with. They really looked after us, and that tour took us to a whole new level in the UK.

Since getting back together, the tour we did with Foreigner last year was just as memorable. You forget how many great songs they have. It’s just hit after hit. The band are amazing, and Kelly (Hansen) is a brilliant singer and front man. And what can you say about Mick Jones? The man is a legend. What a songwriter and such a lovely guy. We’ve never been badly treated on tour, but Magnum wanted us to play in front of the fire curtain at Hammersmith Odeon, which left about 6 feet max, if that, in depth, which was impossible and very unreasonable as Hammersmith has one of the deepest stages on the theatre circuit. We had to pull out of the show literally at the last minute and left a lot of disgruntled FM fans who had bought tickets, but it was totally out of our hands. Magnum wouldn't budge. We had no room to play. It was a bad situation, but what could we do? Why they did it I have no idea. We had been doing really well on the tour, so maybe they felt threatened by us. Who knows?

You played your first show on Valentine’s Day in 1985. What do you remember most about that performance?

SO: Our first ever shows were supporting Meatloaf in Germany, but the Marquee would have been our first headline gig in our own right. To be honest, I don’t remember too much about it. I remember we got ready for the show in a hotel on Russell Square. We didn’t use the Marquee PA. We hired a state-of-the-art American system; it sounded amazing, like a huge hi-fi. Did we sell it out? I can’t remember, but I do remember it being packed. I’d headlined it a few times before with Samson, but I always enjoyed playing there.

What do you think made your debut LP Indiscreet such a good record? Was “Frozen Heart” always going to be the big single off that album?

SO: It was an album full of great songs, and although we were never really happy with the final mixes, our fans took it to their hearts and it became the soundtrack to a lot of people's lives. "Frozen Heart" was the big ballad and was actually released as a single twice, but it didn’t get on the Radio 1 playlist either time. I remember it went top 75 in the first week, but CBS had given away some “Frozen Heart” FM radios as a promo item, which was construed as hyping, and we were penalized and the following week, despite great sales, the single was moved down instead of up as a punishment and momentum was lost.

Were you surprised that Iron Maiden covered “That Girl”? What did you think of their version?

SO: Maiden did the original written version of “That Girl.” When FM got together we thought the chorus could be stronger so we rewrote it. The two bands, as are the versions, are both very different, but I like what Maiden did with the song.

You recorded Tough it Out with Neil Kernon as producer, but you had to switch labels. You also wrote with Desmond Child. How did the making of that record differ from the first album, and how did the label changes affect the band?

SO: We produced Indiscreet ourselves with our then manager Dave King. Originally we went in with producer Peter Collins and recorded two tracks, but it didn't work out. We did some initial recordings, about four tracks, for Tough It Out with a producer called Jeremy Smith, but we felt they were not representative of the band and they were scrapped. Neil came in and he’s a very good producer. He got great performances out of everybody and knew what he wanted. Nigel Green mixed the album. Steve and Chris went over to the States and wrote “Bad Luck” and “Burning My Heart Down” with Desmond. They said he was quite eccentric but great at coming up with fantastic hooks. Changing labels was meant to be advantageous to us by opening up the American market to us, but there were a lot of internal politics with the MD in the States and UK. A lot of bands unfortunately suffered because of two massive egos.

FM reformed in 2007 for Firefest IV

What was it that got the band back together, and what’s been the most enjoyable part of reviving FM?

SO: An Irish guy called Kieran Dargen ran a festival called Firefest, and he’d been pestering us for years after we split to get back together and headline the festival. We kept declining, but at the end of 2006 he asked again. We had a chat and thought it was probably now or never, so we signed up for Firefest 2007. We really had no plans past that one show. We honestly thought if 400 people turned up it will be a result, we’ll have a laugh, a few beers and go our separate ways again. We sold out Nottingham Rock City, the first Firefest sell out; it was a roller coaster ride.

Remember, we hadn't done a gig for 12 years and our contract with Firefest stated we couldn't do a warm-up, so our first gig back together was in front of 1,500 FM fanatics, and of course, you doubt yourself. When we got out there onstage I can honestly say it was one of the most emotional nights of my life. You could just feel the audience willing us to do good; it sounds corny, but you could feel the love. I’ll admit to sitting there at the back behind the kit tears welling up in my eyes on more than one occasion. I felt so proud of us and the dedication of the fans. When we came off we were dumbstruck. We never expected a retain like that. It was pretty much immediate there and then in the dressing room at Rock City that we decided to give it another go and record an album. We felt we owed it to the fans. It’s now 2015 we’re releasing our 9th studio album and everything is cool.

Since getting back together, you’ve played with Toto, Foreigner, Thin Lizzy and other contemporaries of FM. How has touring changed for FM? Do you still enjoy it? How is your material received today as opposed to back in the ‘80s?

SO: I enjoy the writing and recording process, but playing live is off the scale. You can’t beat the buzz, feeding off the energy of a live audience. I don’t think it’s changed that much from the '80s, but I think the venues are much better now, especially the clubs. The facilities are way ahead now. One huge change is now you do a show, and it’s up there on Youtube for the world to see before you’ve had time to change out of your stage gear.

Can a melodic hard-rock band like FM break through again, or is the deck stacked against bands like yours?

SO: We’re under no illusions that we’re going to suddenly become “the next big thing,” but we’re holding our own. We’re making credible, critically acclaimed albums, selling concert tickets. The very fact that Radio 2, the biggest radio station in Europe. is play listing our music must say we’re doing something right and count for something.

CD Review: Bon Jovi – What about Now

CD Review: Bon Jovi – What about Now

Island

All Access Review: C

Bon Jovi - What about Now

To some extent, Bon Jovi has always lived in Bruce Springsteen’s shadow, except perhaps when it comes to album sales. Springsteen gets all the critical acclaim, while still managing to sell loads of records. Springsteen has been called the “new Bob Dylan.” He’s New Jersey’s favorite son, the voice of the common man, an honest-to-goodness poet who can, in gritty, powerful language, pen a tense murder ballad or capture the heartbreaking emotions stirred by a factory closing in a rust-belt town.

Bon Jovi, on the other hand, would be the answer to this bathroom-wall, fill-in-the-blank sentence, “For a good time, call _____.” That’s not exactly fair, but with Jon’s good looks, his band’s hair-metal past and little in the way of literary ambition, Bon Jovi has found themselves in the cross hairs of “serious” music critics for years, these pale shut-ins having unloaded a steady barrage of stinging barbs in their direction that has continued unabated. But, really, is there that big a difference between Springsteen’s “Rosalita (Come out Tonight)” and “Livin’ On a Prayer?” Unabashedly romantic and exuberant, these escapist, all-we-have-is-each-other anthems about young love and breaking free of impoverished circumstances by getting out of Dodge are life-affirming sing-a-longs, with great big hooks and the kind of blind optimism that destroys dreamers.

So why is Bon Jovi targeted for abuse, while Springsteen has been elevated to sainthood? Indulging in easy platitudes has never helped him gain favor with music scribes, but it’s probably more because of albums like What about Now, which finds the entire band sliding into adult-contemporary blandness and spouting artless clichés, such as, “If you want to start a fire, it only takes a spark,” from the overly earnest title track. His heart in the right place, Bon Jovi has never played it safer musically or lyrically, standing up for the hungry, the restless and those who are down for the count in what amounts to an inspirational sermon of a title track, throwing his support behind the faithful and the teachers, and anybody else who needs the healing power of Bon Jovi to walk again.

On this newest record of bighearted anthems and simple sincerity, Bon Jovi almost begs for artistic credibility and then abandons the pretense in tracks like “Army of One,” where undying solidarity is pledged for the troops and Bon Jovi repeats the words “never give up” over and over again – both fine sentiments, but ones also voiced at every sporting event held in America. Yes, it’s gratifying seeing Bon Jovi develop a social consciousness, but every song on What about Now seems to have a tear-jerking “Oprah” moment, and after song after song of this, the LP loses its ability to be affecting in any way. There’s less insipid socio-political commentary on local TV morning shows. Say what you will about the pop-metal superficiality of Slippery When Wet, but it was never a crashing bore like What about Now, a record that is only happy to carry the weight of the world on its shoulders, even as the air just seems to go out of the deflated “I’m With You” and “Amen.”

And there are not-so-subtle sonic deviations, too, as Bon Jovi’s sound has come to resemble U2 more than say Poison, with heady, starry-eyed tracks like “Room at the End of the World” and “That’s What the Water Made Me” aiming for the glorious heavens of chiming guitars that Bono and The Edge see when their rockets’ red glare spreads across a night sky. And then there’s the Heartland folk and rather likable, dog-eared country of their beguiling Lost Highway record of 2007 that manifests itself in the sobering, underdog drama of this record’s “The Fighter” – so quiet and genteel, but pretty, nonetheless, with its well-arranged mix of strings and horns – off their latest LP.  

Where’s the fun? Where are the wild hearts and sly grins of their youth? Has maturity sapped these cheery rogues of their ability to raise a little PG-13 hell? Jon Bon Jovi is far more serious and concerned about what’s going on his America than ever, living in hope while offering a helping hand to the downtrodden in the uplifting “Because We Can” or holding onto what’s good in an otherwise nasty, brutish life as the rushing melodic flood and the twinkling golden guitars of “Beautiful World” crash over the levees. These are stirring pop songs, played with panache, especially with the all-too-infrequent guitar supernovas of Richie Sambora – seemingly on the outs now with the group – blowing up here and there. And “Pictures of You” is a charming, sincere ode to true love, while “What’s Left of Me” is a rousing piece of faded Americana.

Does Bon Jovi deserve more credit for growing up a little? Is it too cynical to question Bon Jovi’s motives on What about Now? Probably, but in this era where taking issue with any of the causes Bon Jovi advances here would be tantamount to treason, it’s not such a bad thing to ask critically if they have gone a bit overboard in trying to save the world on What about Now. 

–   Peter Lindblad 

Powerline: The Resurrection

Founded in 1985, Powerline began as an undergound hard rock/heavy metal mag, distributed mostly in record stores worldwide. As it evolved a few years later, it embraced more commercial hard rock

 (the popular genre at the time was classified as “hair bands”) and the mag was distributed as a high-gloss publication on American newsstands with a circulation of over 100K.

By 1992 the party was over. The magazine became defunct (for various reasons). The staff went onto other jobs. And the name gathered dust. Until now.

Resurrected online, Powerline covers hard rock/heavy metal music in general (truly From Glam to Slam!), as well as reminisce about the old days in the form of time-capsuled articles and experiences.

Backstage Auctions sat down with Pat Prince to talk about all things hard rock and heavy metal, the new online version of Powerline and the industry in general.

How did you start Powerline? And why?
I grew up reading magazines like CREEM and Kerrang! But I then became obsessed with seeking out and collecting metal fanzines – I loved Bob Muldowney's Kick Ass monthly and Metal Rendezvous — and the pure excitement of discovering new metal bands. Powerline was really born out of my love for fanzines and the metal underground but also my frustration of not being able to get enough of my photographs published in the metal press. I'd been sneaking my 35mm camera into metal clubs like L'amour in Brooklyn for years and taking photos of all the latest bands. Finally, in 1985, I figured I'd take my photographs and put them next to my ramblings about the bands I loved, so I started Powerline with a typewriter, pasteboards, and veloxes from my photographs. And, at first, I dropped off copies to sell in all the record stores in the tri-state area that carried metal. It progressed from there.

Since Powerline started as a fanzine. How much did the editorial content change upon hitting the newsstand?
After I teamed up with my friend Mike Smith in 1988, we merged the essence of the fanzine with the more popular hard rock/ metal acts of the time like Ozzy, Motley Crue, Bon Jovi, Skid Row, etc. It was really a great combination because it covered everything. Soon we were able to hire renowned metal journalists like Mick Wall (a favorite of mine from Kerrang!). And the graphics and quality became really fantastic. Some might of seen it as a sell out. But it was really an evolution.

What was your favorite issue to put together?
Each issue had its own great experience. But I would have to say the Metallica issue, September 1989. I was into Metallica from the very beginning of their existence but by the time I started Powerline in 1985, Metallica became too big to get access to. Finally, we were able to get an exclusive interview and make it a cover story, with great color live shots.

What was the strangest interview you've done?
L.A. Guns. It was in a hotel room in New York City and the band had their rock star hats on. They were rude and seemingly drunk out of their minds. My questions were repeated back at me and answered in a nonsensical manner. Steve Riley was laying on the bed and bouncing a rubber ball off the walls and giving me a juvenile play-by-play of it. I had brought Powerline t-shirts to give the band and Phil Lewis stood up and said sarcastically, 'Oh, great, t-shirts.' He picked one up and rubbed his crotch with it and then threw it across the room. Up to that moment Powerline had been a big promoter of LA Guns — not that that demanded my respect, but it certainly hurt witnessing this kind of behavior. I walked out of the room with Riley, Lewis, and Kelly Nickels in a laughing/giggling fit. I had loved Lewis' singing since he was in the UK band Girl, but I thought 'F*ck you. I don't care who you are.' The PR woman finally directed me to Tracii Guns' room. And walking in, you can clearly tell Tracii was in the middle of getting hardcore stoned. It was like walking into a hash den. But, completely opposite of his bandmates, Guns was one of the coolest musicians I've had the pleasure to meet. That's why when people ask me nowadays which faction of LA Guns I support — Tracii Guns' L.A. Guns or Phil Lewis' L.A. Guns — it becomes quite an easy question to answer.

How is the metal genre different than it was when you started Powerline?
Today's metal now has standardized extremities — it seems too forced at times. I like all kinds of metal for its musical value but I don't agree with this way of thinking. You don't have to be extreme to be intense.

Is it harder for a metal band to be recognized nowadays?
Metal seems to be making a comeback. Genres can be cyclical as far as popularity. But hard rock and heavy metal will always be there. It was very hard for metal bands to get recognized in the early - to mid-'80s— which made it seem more exciting, actually.

How are Metal fans/collectors unique? Do you collect metal memorabilia?
When you listen to a genre exclusively, you like to think that your music is the most unique, and its followers are the most enthusiastic. And there are some aspects of it that are unique. But, basically, fans and collectors are the same all over, no matter the genre. After being the editor of Goldmine I certainly realized that!
A lot of my favorite memorabilia, unfortunately, has been lost over the years. I had almost all the metal demos from the '80s, including Metallica's. And the heavy metal demos of the '80s were the most fun to collect and trade. It was a world onto itself — almost a secret society. And, unlike today's MP3s, bands wanted you to trade demos -- get the music out there. I'm glad I experienced it. The demos from bands like Malice and Mercyful Fate were better than a lot of the stuff that made it onto their studio albums. Brilliant stuff that you'd could only hear if you were part of that scene. And then you had bands like Surgical Steel that you can only hear on demo tape. It's a moment in time that you really can't recapture.

Why did you resurrect Powerline as a Web site?
I listen to all kinds of music now, but I had missed Powerline and the music it cherished being an important part of my life. Plus I got kind of sick of bands like Korn being seen as the face of heavy music. What about bands like Saxon, Riot, Accept, Raven and the hundreds of other great bands from the '80s — the ones that started it all?! They deserve the most respect!

What are Powerline's future plans?
To have Powerline conitnue to represent vintage Hard Rock/Heavy Metal bands. I love the idea of turning kids onto all that old school stuff for the first time. Kind of like how Kerrang! turned me onto it in the early '80s.

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Rock and Roll Limited Edition Lithographs

THE BEATLES, ROLLING STONES & BON JOVI LIMITED EDITION LITHOGRAPHS

In the mid 1990s, the music memorabilia community responded with excitement to the release of a most impressive series of a strictly limited quantity, museum-quality lithographs, featuring works of the worlds' best known graphic artists, such as Giger, Van Hamersveld, Volmer, Dean, Warhol and others. Combined, they produced rocks' most memorable album art for the Beatles, the Rolling Stones, Yes, Eagles, Genesis, The Who, ELP and many more. Available for a limited time only, these fully authorized works-of-arts sold out quickly (worldwide) and have since become highly collectible. 



Currently in the Backstage Auctions Store, a selection of Bon Jovi, Rolling Stones and The Beatles lithographs are available for direct purchase. The limited edition lithographs range in price from $35.00 - $150.00. 

"These are truly beautiful pieces of artwork and look absolutely stunning framed and displayed. We recently sold an entire set of Rolling Stones lithographs to a customer that was had them framed and then hung in their media room at home," says Backstage Auctions owner, Jacques van Gool. "And make no mistake,  these fine pieces of art will not break the piggy bank - they are all moderately priced."


The entire collection can be view by clicking on this link: Limited Edition Lithographs