Glenn Hughes E-Interview

Also well known as the Voice of Rock, Glenn Hughes has the very rare ability to flutter from one genre to another seemingly effortlessly. With his first love being funk, Hughes has released albums that have ranged from rock to AOR to metal to even smooth jazz. In fact one track on his smooth jazz Christmas album even included the opera influenced “Ave Maria”. His success rate is largely due to his utter strength and powerhouse as a vocalist and should perhaps be renamed simply The Voice.

Glenn’s early years began with the rock funk band Trapeze that were critical darlings. Unfortunately, with the exception of the seminal “Coast To Coast” ballad that Glenn continues to exhibit in his concert sets, there was very little commercial success for the band. As a hungry young artist, on the surface it must not have been a difficult choice when he received the call from Deep Purple in 1973 to ask him to replace Roger Glover as their bass player.

Unfortunately, Deep Purple Mark III only put out two albums in the form of “Burn” and “Stormbringer”. It was then that Ritchie Blackmore departed, angry at the funk influences that Glenn and David Coverdale had brought to the musical banquet table. As a result, Purple hired American Tommy Bolin and Deep Purple Mark IV released “Come Taste The Band”. The critics in general were ruthless and Bolin’s confidence was undermined as he struggled through the tour that supported the album. And by 1976 Purple was no more. Which is a shame as in my eyes “Come Taste The Band” is one of the best rock-funk albums of all time. No scratch that it is also one of my top ten albums of all times. There is not a weak track in the batch.

Glenn Hughes co-wrote the phenomenal “Gettin’ Tighter” and the soulful “This Time Around” with Tommy Bolin. The thought of collaboration with these two souls of funk would have been astronomical. Sadly, Bolin lost his life at the tender age of 25 to a drug overdose. Meanwhile, Hughes fought with his own demons, but still managed to release his first solo effort “Play Me Out” in 1977 and the Pat Thrall collaboration the “Hughes/Thrall” album in the early 80’s. Then he slowly slipped out of the public eye.

Although Hughes did the occasional project, for about ten years he laid low, though in 1992 a rebirth occurred. With Hughes now addressing his addiction issues, Ken Ciancimino hooked Glenn up with producer Mike Varney of Shrapnel Records and convinced Hughes to come out with the LA Blues Authority project simply entitled the “Blues”. Belting out songs of a different genre with great strength and dexterity, Glenn immediately let the public know that his return was imminent.

Since then Hughes has released a platitude of material that it makes one dizzy. It would be impossible to cover the entire spectrum of his work but his first solo outing upon his rebirth was the AOR influenced “From Now On” that features Unruly Child’s Bruce Gowdy at the production board. And of course there is the superb live set “Burning Japan Live” released back in 1994 that deserves the accolades of sitting next to the other fine live albums of our time such as Thin Lizzy’s “Live & Dangerous” or for that matter UFO’s “Stranger In The Night”.

In 1994, Hughes utterly changed gears and presented us with his funk filled “Feel”. Equally as drastic was the ultra heavy and brooding “Addiction” in 1996. For the fans that wished to pigeonhole Hughes it was a frustrating ordeal. Fortunately, Hughes’ vocal acrobatics and sheer strength always made his genre benders an interesting album even if the music was not what the majority of his fans preferred.

Recently, Glenn has focused more on his rock roots that began with “Return Of Crystal Karma” in 2000 and most recently his latest solo effort, the solid “Songs In The Key Of Rock”. It seems Hughes has come full circle as the “Songs In The Key Of Rock” is probably the album that comes closest to a “Come Taste The Band” appetite. Though definitely in the key of rock there is an underlying tone of funk allowing Hughes to fulfill his first love of soul and appease the fans at the same time that will forever associate him with the color Purple.

Speaking of the color Purple, Hughes most recent collaborations, and the most successful one to date, has been his teamwork with former Rainbow/Deep Purple vocalist Joe Lynn Turner. Frankly, this project had disaster written all over it. How do two front men with huge lungs successful share the spotlight? Obviously the team effort is working as we have already seen two very strong studio efforts complimented by a raw live set that features their collaborative, solo, Purple and Rainbow material. This would appeal to the rock heads that were reluctant to explore like Hughes does.

Despite living in the Southern California area, I have been fortunate enough to see Hughes only twice in concert. My first experience was his gig at Billboard Live (now known as the Key Club) where he was featured with Marc Bonilla. The second concert was via the 3 Voices gig with Robin McAuley and Alex Ligertwood at the cozy Coach House in San Juan Capistrano. Believe me when I say that the studio effects have nothing to do with the utter strength of the Voice of Rock. On stage his towering height is equal to his massive lungs capable of doing vocal acrobatics that I have never heard any front man capable of duplicating. Recently I had the opportunity of completing a Q & An interview via email with which I will simply refer to as The Voice.

Mike: It was 1973 and Deep Purple was about to play at the California Jam that was to be televised to a nationwide audience. By the time this gig arrived how long had you been playing with Deep Purple and what emotions did they involve?
Glenn: "I joined Purple in '73. I was looking forward to playing for that many people."

Mike: While to most hungry young musicians your calling to the Purple machine must have seemed like an easy decision. However, musically you had been invested in Trapeze that was immersed in funk and boogie. Were there any difficulties in making that adjustment?
Glenn: "At first there was. Yes, I did not want to leave Trapeze but in the end I thought it may be a good career move."

Mike: “Burn” is apparently receiving a 30th Anniversary makeover. Will there be any bonus material? Your website indicates that you have heard the finished project. Though the production has stood up well how much improvement has been made?
Glenn: "I think it sounds good. I was invited to come to the studio while it was being worked on but as I was not in the UK. I was unable to be there."

Mike: I am more excited about “Come Taste The Band” receiving possibly the same treatment. Unfortunately, neither the critics nor the fans were very kind and Mark IV only produced the one album. In my humble opinion this was the ultimate merging of rock and funk and almost 30 years later this album would rank as one of my top ten-desert island discs. Has there been any preliminary discussion of a 30th Anniversary celebration of “Come Taste The Band”?
Glenn: "Not to me. But I do love this album."

Mike: If so to your knowledge is there any vault material that could be added to such a celebration?
Glenn: "I don’t know really."

Mike: Though Bolin self destructed way too early in life, you continue to help celebrate his life courtesy of the anniversary tribute shows. The “1997 Tribute” was a wonderful accolade to the guitarist and it is amazing to hear you render his solo material. “Gettin’ Tighter” and “This Time Around” were the highlights of the “Come Taste The Band” and were the only two songs that featured you and Tommy co-writing. Do you think that you would have collaborated with him had he managed to overcome his struggles? And if so what do you think the musical experience would have leaned towards?
Glenn: "Tommy Bolin was a great person and a great guitar player and I am sure had he lived we could have written more songs together. If he had lived, he would have had to overcome his demons as I have mine, something that I hope he could have done, but it is a moot point now, isn't it? A real shame, losing Tommy the way we did."

Mike: After Purple disbanded, you released the overly soulful “Play Me Out”. While Geoff Barton, then of Sounds raved about the album, it was poorly promoted and overlooked. Did you purposefully want to radically return to your roots?
Glenn: "I loved “Play Me Out”. It is my favorite and it is too bad more people haven't heard it. I wanted to do something that I felt inside. So if that is a return to my roots then yes, you can call it that."

Mike: With the exception of the Hughes/Thrall album and working with Tony Iommi and a few other projects, the late seventies and entire eighties were not a very prolific time for you. Apparently, you continued to struggle with your drug addiction. When did you realize that powerful addiction and how did you manage to overcome it?
Glenn: "One day I had just had enough and I ended it. I went to [the] Betty Ford [Clinic]. It was the best thing I ever did. Anyone who has an addiction has to decide for themselves when they are going to stop, and usually you have to reach rock bottom."

Mike: In 1992 an artistic rebirth of Glenn Hughes was delivered courtesy of the project “Blues”. I would never have imagined you covering this genre yet you co-wrote every song. Were your contributions lyrics, music or both?
Glenn: "Ha ha ha! That was so long ago and I have not listened to that in so long, I can barely remember it."

Mike: I understand that Ken Ciancimino was the instigator of this project. How did it evolve?
Glenn: "It was my first record deal after being sober. Someone could have told me to play a polka and I might have done it I was so ready to work."

Mike: Not much later you released the difficult to find “From Now On” which is a bit of an oxymoron considering that musically it has been your most accessible album to date. Not that the album was crying sellout but was the AOR approach a reflection of where you were or an attempt to appeal to the masses?
Glenn: "It was where I was at the time."

Mike: You appeared on a Marc Bonilla album and then continued to work together on your material. But you changed gears again and in 1996 you presented to the public the very heavy, dark and brooding “Addiction”. With song titles like “I’m Not Your Slave”, “Addiction”, “Death Of Me”, “Down” and “I Don’t Want To Live That Way Again” was the lyrical theme a celebration of breaking free or a reflection of a continued struggle to resist the bondage of drugs?
Glenn: "That album was a reflection of where I was in my personal struggles in life. Since then I have really overcome a lot."

Mike: Although this is a very personal question, the “Blues” and “From Now On” credits thanks to Jesus Christ and since then you have given gratitude to your Higher Power. Was there a religious transformation during your rehabilitation period? If so what role does this play in your life today?
Glenn: "Everyone always asks this and really, higher power is just meant to convey the fact that everyone in recovery has got to realize there is a higher power, whatever that may be to them, or they can not recover. You have to embrace this idea or you can not get well. You have to believe that there is a force in the universe greater than you: you are not the universe. You can't control everything. It doesn’t matter if your higher power is Buddha, Allah, Mother Nature, Jesus or God; you just have to believe."

Mike: Five years after releasing “American Matador”, in 1998 Marc Bonilla made an appearance at the Billboard Live (now known as the Key Club). What an all star line up it was including Keith Emerson, Ronnie Montrose, Jeff Porcaro and of course you. Live, “Cover Me” was absolutely huge as was your performance, which was the first time that I heard you out of the confines of the studio. And certainly your voice is not limited to the wizardry of the studios and justifies your nickname the Voice of Rock.
I have heard rumors that this concert along with the San Francisco gig was recorded and the production is of high quality. Any indication that these gigs will ever be released to the general public?
Glenn: "Not any time soon I am afraid."

Mike: “The Way It Is” was a mixed bag and saw the last of your written material with Marc. Since then he has disappeared from the face of the earth. Was there a falling out or had the working relationship just maximized its benefits?
Glenn: "He is working on TV and movie projects."

Mike: Are you and Marc still in contact with each other?
Glenn: "Yes."

Mike: “Addiction” resulted in the arrival of an unknown guitarist by the name of JJ Marsh. He has now worked with you for over 8 years. How did you meet?
Glenn: "We were both at the same wedding and a mutual friend introduced us."

Mike: With an 8-year working relationship in existence both the longevity and results from the partnership seem to indicate a very successful one. How does the writing process work?
Glenn: "JJ and I connect musically. We understand each other. It just flows. We don't have to think too much about it."

Mike: Your most recent solo efforts “Return Of Crystal Karma” and “Songs In The Key Of Rock” show a return to your rock roots. However, it is a known fact that your first love is funk. Apparently, your name will be forever associated with the color Purple. Is this both a blessing and a curse?
Glenn: "Of course, but there could be worse curses I suppose!"

Mike: Which brings me to your most recent activities with Joe Lynn Turner. What a great avenue to explore your rich heritage of the Purple and Rainbow connections. Frankly, when I first heard about you guys getting together I thought it had disaster written all over it. How do you get two legends to share the stage? What is the secret of the Hughes Turner Project?
Glenn: "Joe and I have known each other for over 20 years so we have no problems with each other. There is no ego. We are relaxed together."

Mike: In large the box office smashes are the renaissance tours of well-established groups such as the Stones, the Eagles, Fleetwood Mac and Bruce Springsteen to name a few. With the combination of hungry Deep Purple and Rainbow fans why not a Hughes Turner Project USA tour?
Glenn: "There is not enough interest. These other bands you mention had huge #1 hits on the chart and they sell out stadiums now. America is a huge very costly country to tour. It wouldn't be financially smart to do it. However, if there is some promoter out there with a big enough wallet, they should give a call."

Mike: I met Joe Lynn Turner backstage after his Southern California appearance when he sang with the Alan Parsons Project. He spoke very highly of you but also shared some very fond stories. One is you calling him from Japan forgetting about the time difference wanting to share your joy of a Wolverhampton Wanderers victory. Would it be fair to say that this is much more than just a business relationship?
Glenn: "Of course. We are close friends."

Mike: I reviewed both of your HTP albums and like most of the critics they are receiving high praise and rightfully so. Will there be a 3rd one? If so, like the previous projects do you and Joe have any guest star appearances in mind?
Glenn: "If we do another one, I have no plans for a guest artist at this time."

Mike: You continue to be very prolific collaborating with other artists, the most recent being the Dario Mollo project Voodoo Hill. Your website reported that you and John Sykes jammed but the only thing we have heard on disc to date is “Heaven’s Missing An Angel” on the Hughes Turner Project album. The lethal combination of John’s most distinctive vibrato guitar and your lungs was for the lack of a better word angelic. With the exception of this song was there anything else put on tape? Or better yet any chances of an official full-length formal project being released?
Glenn: "This is the only song John and I did together."

Mike: Approximately one year ago I had the opportunity to see you in concert again under the moniker 3 Voices. You were featured with Robin McAuley and Alex Ligertwood. I thought it was impossible to outshine your Marc Bonilla performance. I was so wrong. While it was great to see Robin in action and to be introduced to Alex your set though short was nevertheless magical. If there is not going to be any HTP USA tour do you plan on touring solo anytime soon?
Glenn: "I play in the USA whenever I can, but this usually seems to be in Florida. I've tried to tour the USA. It’s impossible."

Mike: Speaking of live gigs I unfortunately did not make the limited seating for the live recording of “Soulfully Live In The City Of Angels” due out in September of this year. How did you go about picking the song set that would effectively express an effective overview of your career to date?
Glenn: "I picked my favorites and what I thought would be a good representation of my career."

Mike: Your website also mentions that you are in the process of completing your next solo album that will once again include Chad Smith on drums. Would you like to share any further insight as to the flavor of the album?
Glenn: "Other than “Play Me Out”, this is my favorite album to date. This is where I want to be. This is going to rock your world. That is all I can say. The proof will be when you hear it. I am very excited. Chad is a monster drummer and great friend. He is a brother to me. When we play together, things just happen. There is no better drummer for me."

Mike: Closing on a totally unrelated note I am aware that you are a huge fan of the football club Wolverhampton Wanderers. How do you guys look for the up and coming season?
Glenn: "Not too good I am afraid. But I am going to be in the UK working with Tony Iommi this fall and I hope to catch some games."

HRH: Being that I am a transplanted Geordie boy living in the LA area, I still bleed black and white. So if the Wanderers make it to the Premier League we could watch the Magpies play the Wanderers at a Santa Monica British pub. The beer will be on me...Newcastle Broon Ale of course! But seriously thank you for taking the time to answer my questions and cheers to both your career and yes even the Wanderers.

Interview by Mike Debbage, Hardrock Haven staffer ...