For my latest installment I have chosen one of the few bands of recent times that have really come to the front of the music scene. They are not your average media hype, super-band although some of the members have a pretty illustrious past and resume's to put pretty much all of us to shame. From Journey to Asia to Vinnie Vincent these guys pack quite a pedigree.
The band are currently in the studio putting the final touches to their second album titled MAJESTIC.
Their first album has many influences that can clearly be heard in the playing and the structure of the songs from the Beatles, to Oasis, to heavy 70's groove riffs to intricate melodies and sometimes a little Black Crowes creeps into the mix also. All in all this is an album that is contemporary, rocking, spaced out and really gels well to many different genres without sounding in the slightest but pretentious. Robert in his interview with us alludes to the organic approach to recording the album and it really shines when you listen to it. The production is not over done and the clarity of each instrument is evident with Robert's vocals having lost nothing of their magic. It's a world away from the past but it really works. This is A BAND. Make no mistakes. There are audio samples of all songs on the website and I strongly recommend you check it out - www.theskyofficial.com
I recently caught up with Robert to get his take on past and present :
Hey Robert - what have you been up to
these past few years ?
I'm currently writing the new Sky album, we have recorded 11 new songs so far
.And one of the songs has been made into a video called One Day. Which we are
in the editing process putting it all together right now. We did the video with
our Director friend Jerry Moore. At first we'll have the video up on THE SKY
website which is
theskyofficial.com then later
on YouTube. We're all very excited about this being our first video for THE SKY
In your own words can you summarize
THE SKY for those who aren’t familiar with you yet?
THE SKY was put together buy me and Andre LeBelle who played drums on one of
Vinnie Vincent albums. I was trying to put the band together in Los Angeles
with not much luck. Found a lot of guys who could hold a guitar and look cool
but not play. Couple of days after I receive a Star on The Hollywood Walk of
Fame with Journey. Andre called me up and I told him I was interested in
putting a band together and he replied that he would love to be in the band I
said I'd love to have you in the band but you live in Richmond Virginia and I'm
in Los Angeles . He said he knew some great players and I should come out so I
did. With my friend Mike Weeks who played guitar for me on my Look at the Dream
solo album .We got together at a recording studio, in Richmond for a week and
learn 4 songs after the week I went back to Los Angeles. I thought the band was
great, now it was how am I gonna put this all together. After a month or so, I
got everybody to fly out to Las Vegas and we rehearsed again for another week,
again came back home to Los Angeles. Then I decided I was going to move to
Richmond. I got there and rented a house and rented a rehearsal space which was
2000 square feet 40 foot ceiling set the band up we started rehearsing wrote 20
songs we recorded 11 for the album it was a great process for me because I
could write songs at home bring it to rehearsal, the band would learn them and
it was just magical. I would come in with a Black and White picture then it
would turned into color because of the band. Andre LaBelle on Drums, Steve
Barber on Bass, Brady Cole on Lead Guitar, Stephan Lajaunie on Rhythm Guitar,
later replaced by Ryan Lake. For years I have recorded in a studio putting
songs together piece by piece. When I did THE SKY it was all live it was so
magical I will never record that old sterile way again. This band is the Best
Rock and Roll Band I've ever put together.People and critics say it has a
Modern Retro British Rock Sound to it, but I think it just sounds like good
song writing because that's what's it's all about. You can be the best
musician, singer. But if you don't have songs your Shit.
Pick 3 songs of the first album in order
to introduce this band to your fans…
All I Want - If you listen to it
in your car it will make you get a ticket for speeding. Because of the fast
driving tempo and hypnotic rhythm and a great hook. Next thing you know you're
going 100 miles per hour and you're seeing red lights and being pulled over.
Boomerang.
- It's just One Big Nasty Riff that Smacks you in the face with attitude and a
Monster Beat.
Sunshine
- A dreamy whimsical song with a beautiful melody and message
You were working on solo releases,
now you have the band. What are your goals with THE SKY and why the change of
direction? How do you differentiate being in a band and being a solo artist?
Like anything you do you want it to be successful. You open up a Store or a
Restaurant a Business or started a Band that's the goal to be successful. I
plan on recording SKY records until we become successful. But I can only do so
much that's where people like you, who do interview come into the game. You let
people know about Bands and get your readers curious about them. So they go out
of their way to find and listen to an artists music. And for being a solo
artist you don't have anyone to ask permission for using a certain color its
your choice less weight less problems. A band is a different story I've been in
some high drama bands and it can drain your soul. But if you're lucky and you
find the right people and your all on the same page through time it turns into
a family. And that's what makes a band successful that family feeling to it.
And that's why I like being in THE SKY
Ever had a regular day job?
I had a after school job bagging groceries for my uncle. Every Christmas I
worked at my uncles Christmas tree lot. I worked in a real estate office filing
papers doing errands. I did all that between the age of fifteen and seventeen.
After that it was pretty much all music I played in some bar bands then later
started my own bands. So I've been pretty blessed and lucky not having to do
the 9 to 5.
Before Vinnie Vincent you had a band
called Channel. What’s the story behind that one?
Channel was put together buying me and Tony Berg he was a session guitarist
and producer in Hollywood who played with Bette Midler and Cher not much of a
real rock and roll background but we both love the same bands and we talked
about art we were just good friends. He was a great guitarist with a lot of
style.
I learned a lot from him, like a song is not a song unless it has a
bridge in it. And that's true I never write a song without a bridge in it
never. Tray Thompson was the bass player who also played with Cher on a few
tours. One of the most melodic bass players I ever played with later became a
teacher. Gary Ferguson one of my favorite drummers he played with Gary Moore,
Eddie Money, Ray Charles, all kinds of sessions throughout Hollywood and
England. And still playing to this day. So you can say Channel was a band of
the studio musicians. We got signed to Epic Records, by Larry Hamby who
happened to be a good friend of Trays, so that was are in. Tony and I cowrote
all the songs on the album. We were getting set to go in and record the record
in Hollywood. When the record label wanted us to go in the studio with a
producer, so they introduce us to.. John: (Let's keep his last name out of it)
that's when thing started going downhill. He smoked big fat cigars dressed in
army combat fatigues with a green army hat he was like Fidel Castro he was fat
and had a big beard. I asked him not to smoke cigars in the studio because it
affected my voice plus I didn't like the smell, but he continued didn't care.
And later we find out he's a Scientologist, and started leaving Scientologist
literature all over the studio which I threw out. Then the cherry on the cake
is, he's married to the daughter of L Ron Hubbard ,the father of Scientology.
She was actually nice played classical piano beautifully. Later found out the
reason we went to England was because John wanted to take his wife on a
vacation to England.She was English and they had business to do there, Dealing
with Scientology. So they got a free vacation on Channels money. Somehow he
talked the record company into having us go to England to do the record. which
I never wanted to do because I knew it was going to cost so much money and
stress on the band but it happened .So we're there. at a studio called
Brittannia Row Studios in Islington. Which was Pink Floyd's recording studio.
Where they recorded The Wall. On our first day there we were starting to setup
to record and at the studio they have this big room where they had a snooker
table. I asked if anyone had ever recorded drums in this room they said no, but
we can give it a try. I said let's go for it so we set the drums up. The drums
sounded great after hours of setting up the equipment and microphones we
started to record. About 20 minutes later the Bobby's come knocking on the
studio door. Telling us they can hear the drums all the way down the row. And
that we would have to stop so now everything is on the back burner and the
studio tells us to come back in a day or two and that they would take care of
the situation. They called us up 2 days later we came down to the studio and
they had built a wall against the existing wall for us so the sound would not
escape out into the streets. So you could say Pink Floyd built The Wall for us
basically. We did our basic tracks there's which were sounding terrific. The in
house engineers we're doing all the work basically. John sat around smoking
cigars. Then John tells us we're leaving the studio to go to Surrey to continue
recording I wanted to stay where we were. We we're getting great sounds. So we
go to the studio call Jacobs Farm Studios out in the country 12 room English
manor with a recording studio in it. Where YES recorded owner of a broken heart
.With a Chef 24 hour food and drink breakfast lunch and dinner. And John eaten
away like there's no tomorrow. We continued working on the record doing guitar
over dubs and then I started doing my vocals. After finishing lead vocals I was
to start doing the background vocals John suggested that we have background
girl singers. I said no it will make the record sound stupid. So the next thing
you know he's got these chicks in there singing away the day before we leave to
go back to the States. And I just can't believe it I wanted to set his ass on
fire. We never mixed the album. We came back to LA and we had spent a shitload
of money. Now we have to find an engineer to mix the album and we didn't have
very much money to offer, so then the record company eventually gets us an
engineer. And the last project he had done was Frank Sinatra and Steely Dan.
And I just can't believe it. What the fuck does this guy know about rock and
roll absolutely nothing. So I'm told they're going to mix the record in New
York. I call Tony and his wife answers the phone and I ask is he there and she
says no he went to New York to mix the record. So I hang up call the label they
say Tony said he knew were all the tracks were on the session and he could help
the engineer. Here Tony and I wrote all the songs together. You think he would
have called me or tell me is going to New York but it was all done secretly. So
I just said screw this project, and basically wash my hands of it. The record
came out I heard the mixes and they sounded Wimpy. My grandmother in pink
underwear could mix better than they did. If I had mixed it, It would have
Rocked Hard..
A huge highlight for us at the Decibel
Geek Podcast is your work with Vinnie Vincent’s Invasion. You have done a
spectacular interview already for the show but for the readers out there, care
to share the story and put the monster to bed?
I met Vinnie through a mutual friend Adam Mitchell who wrote songs with Paul
Stanley plus he wrote some hits for Linda Ronstadt. Vinnie asked Adam if he
knew any lead singers and he gave him my number. One day Vinnie called and told
me what he wanted to do. I invited him over to my house in Hollywood. Next day
or so the doorbell rang. I answered the door and there was Vinnie looking like
any other guy in a T-shirt jeans and sneakers and a smile on his face. I made
him a cup of tea and we sat in my living room. I popped in the cassette that he
gave me, and out of the speakers came out the riff for, Shoot You Full Of Love,
Substitute, Back on the Streets. I thought he was a great songwriter and a
incredible guitarist also, so I thought --why not, this could be an incredibly
good team. A couple of days later he invited me to S.I.R, which is a rehearsal
studio on Sunset boulevard in Hollywood. I walked into the sound stage and
there was Vinnie with a group of guys. Apparently they had been in a band with
Vinnie at one time called New England. We started jamming, but we had to stop a
lot because Vinnie kept breaking strings; it kinda worried me a bit while I was
driving back home that night. During the week we got back together and we did
some Demos at my house on my 4 Track. We wrote Invasion and Do You Wanna Make
Love. Those were the first songs we wrote together; he did the music I wrote
the lyrics for Do you Wanna Make Love and we share the lyrics on Invasion.
We
were both happy about the collaboration. Some time later he called me and told
me that KISS had asked him to join the band. I told him you should definitely do
it, it will change your life. He had twins on the way he and Ann Marie were in
a tiny apartment. I told him to go for it. Some time flew by and then I got a
phone call. It was Vinnie on the line. He said "Robbie let's get the band
together" and I said okay. So apparently he had been in the studio
recording; he told me to come down to Sandcastle Studios where he and Andy
Johns producer / engineer were working. I went to the studio and did the vocals
for Shoot you full Love, No Substitute, Back on the Streets. We had a lot of
fun and it was great to work with Andy. He worked with The Rolling Stones on
Exile on Main Street and did the second and third Led Zeppelin albums. He mixed
the 3 songs and they sounded great. Some time went by and I hadn't heard from Vinnie.
Somehow I heard that he went to New York and Chrysalis Records offered him a
deal--a deal without me. I didn't work with him to push his solo career. I didn’t
even hear from him; no phone call no nothing. More time went by; it was phone
call from Dana Strum telling me he's the producer for Vinnie's new album. I
told him basically to fuck off. He kept calling me and calling me, and I never
did get a call from Vinnie. This is where Vinnie went wrong. I would have
preferred if Vinnie had called me and we would have settled things between us
instead. He should have handled his own business instead of Dana Strum handling
his business. After I heard they were auditioning other singers. Chrysalis told
them to get me involved in the project. Eventually we came to some sort of
agreement. When it came time came to do my vocals, most all of the music was
done. The first day I came in to do my vocals there was a room with I think 8
stacks of Marshalls in a circle, it looked like Stonehenge I found it a bit
hilarious. It was a scene out of Spinal Tap; but that was Vinnie. My vocal
booth was in the middle of the studio. I walked into it and was surprised to
see that Vinnie had wallpapered the inside with Playboy centerfolds floor to
ceiling . He said I thought it would get you off while you're doing your vocals
. I told him it would take a lot more then that to get me off. But thanks for
breaking up your Playboy collection for me . He was very nice to me I think he
was embarrassed for what he did to me. And I just played it cool. The basic
tracks were done with a drum machine. We needed to find a drummer so we held an
addition at S.I.R. The drummers that showed up had a half an hour I think we
had close to 10 people at the audition. At the very end. Bobby Rock had come in,
after his van had overheated. He had been driving through the desert and his
van was on its last leg; he literally rolled into the parking lot. After which
he emptied out his drums, set up, and played unbelievably. I told Vinnie
"this is the guy". Bobby went into the studio and recorded the drums.
Then it was time to mix with George Tutko; who was a terrific person, very kind
& easy going, as well as a great audio engineer.
George would be mixing and
Vinnie would say the guitars are not loud enough. George would take a break and
Vinnie would sneak the guitars up. George would come back, listen to the mix,
and wondered what the hell happened. This happened with every song practically.
I personally couldn't believe what I was seeing. It drove me crazy because a
lot of time and money was wasted--but it wasn't my dime so I let it be. It was
now is time to do photos for the album. I came in and was shocked that Bobby
was in body paint, and Vinnie was all painted up and had on that giant wig.
Then he told the stylist to do something with my hair. I ended up looking like
some fucking poodle; my hair was one length before they messed with it. During
the Photo Session, Vinnie's manager came to me with a contact, as big as a
phone book. He told me to sign it, but I told him I wanted to take it to my
lawyer. He told me not to worry and just sign it-- everything's okay. That's
when I told him to piss off. Apparently Vinnie's manager told the record
company that I was signed to his management company which was a lie. Chrysalis
found out and got really pissed at him for lying. Chrysalis wanted me to sign a
contract with them without any compensation. They wanted me to absorb the debt
of the making the record--who knows how much they would have to recoup. I told
them "no way". I was getting calls from the record company telling me
if I didn't sign, they would take my voice off the album. I told them to do
what they had to do...I knew that they would have to spend more money
re-recording the new vocalist plus the cost of re-mixing the record over again.
Things were so messed up I walked away. After that I received a phone call from
a friend telling me that they're going to show the new Vinnie Vincent Invasion
video on MTV. I saw the video and there was this guy lip sinking to my voice.
He was also wearing the coat that I wore on the album cover plus he was wearing
girls underwear over his leather pants. I couldn't believe what I was seeing
and hearing . And for the record this is the first time anyone has ever lip
sync to someone's voice before Milli Vanilli. So I sued Chrysalis and I won. It
was too bad it never worked out.
How do you feel about the music you
released with Vinnie Vincent?
I thought it (VVI debut album) was great album, and at that time nothing
like it, and to this day. My favorite song is No Substitute.
I've never heard (Euphoria /
Guitarmageddon) the album I do remember doing the songs. Those vocal tracks are
scratch tracks they aren't my finished vocal tracks. Things happen so I never
got to finish or fix them.
·
Listen to DBG Podcast
VVI specials for much more detail on these latter recordings *
When was the last time you heard from
Vinnie?
I haven't talk to Vinnie in over 20 years.
You were briefly a member of Asia. What
are your memories of that time?
The way I became involved with Asia was when I was with Journey and we
toured opening up for Emerson Lake and Palmer in Canada . I became friends with
Keith Emerson and Carl Palmer, little did I know that years later I would be in
a possible band setting with Carl. In the later part of 1980, Geffen Records
A&R man John Kalodner, called me to tell me about his super band that he
was working on with John Wetton, Carl Palmer,Steve Howe and Geoff Downes. He
wondered if I would be interested in going to England to check it out. The next
day I received a cassette of the demoed songs that I would need to learn; with
John Wetton's voice on it. I thought--wow sounds really great ! I was familiar
with Johns voice from King Crimson and I always thought he was a brilliant
singer. The more I listened to the to the cassette, I thought that it the songs
were tailor made for John and I just couldn't really see myself doing them
better . But the time came to go off to England. From Los Angeles I had a long
grueling flight and a bunch of stops before I arrived in England at my hotel
room. I laid down for an hour and a half; I was exhausted when someone started
banging on the door. It was one of the roadies.
He said "come on let's get
going we're off to rehearsal". Next thing I knew I was standing in the
rehearsal room with some of the greatest musicians in rock n roll. We started
to work on the song Heat of the Moment. It sounded good, but in my head I could
only hear John voice. We rehearsed for a week. Toward the end of that week I
had to say something. I told their manager Peter that I thought John was
perfect for it and they didn't need me. The record company wanted that visual
front man for the band to give it a more commercial rock n roll image, but I
believe the band was strong enough just the way they had it.
A big part of your history is your
connection with Journey, your first real break as we know it. How did it go for
you?
I learned a lot being in Journey, definitely the first band that I ever was
in with such incredible musicianship. Before I entered the picture the band was
a rock jazz fusion band. A very free form style of writing music; pretty much
jamming and then organizing it into a song. So when I joined the band I came in
as a Pop Rock singer songwriter--which was very far from what they were. But it
worked. And on the business side of the band it was very well organized, road crew,
travel agent, road manager, manager and a record label to make it all work. For
me it was like opening up a watch and seeing all the parts move and work.
Would you change anything with Journey?
No there is nothing I would do different. I wrote some great songs with
them. As a band we all got along with each other. And still do
What were the real reasons for you parting
with Journey?
The main reason I was pulled out of the band was pretty much because of
management. I had a manager before I came into the band that had ties to CBS
Records; it was because of him I got the gig. So later Journey's manager ask me
to leave my manager. And I found that to be a very difficult thing to do
because I really liked my manager Barry Fey a lot. I couldn't stab him in the
back. So Journey's management got pretty mad. The whole time I was with the
band they had a A&R man at CBS Records telling Journey's manager about
Steve Perry and financing his demos; he told the management if they took Steve
on they would give them more money for recording, radio airplay, tour support
and a producer. So that's what basically happened. It was an offer they
couldn't refuse.
You co-wrote some prominent songs
with Journey: Any fond memories?
Winds of March
Neal and his father wrote the music at
one time. Then Neal brought it to rehearsal where the musical structure came
together. Then I wrote the lyrics and melody over it. When I left the band I hadn't
completely finished the song. There were two lines in the second verse that
need to be completed. Perry wrote those 2 lines that's why he gets credit on
that song.
Wheel in the Sky
Neal came up with the music in the back of a station wagon with an acoustic
guitar while on the road. It came together during rehearsals in San Francisco.
Neal played the opening line. And I started to add lib words and melody over
the music. Later wrote all the lyrics at Rolie's house.
Journey released another song
co-written with you called For You.
Another song that was written during rehearsal. We jammed a lot during
rehearsals and that's how lot of the songs came about. When I left the band I
gave 3 songs to Journey and I kept.. FOR YOU...for my solo album which Neal
played on.
You were there as a guest when
Journey received their Star at the Hollywood Walk Of Fame. How was that for
you?
Receiving the Hollywood Walk of Fame Star was one of the biggest events in
my life. Because for me growing up in Los Angeles, As a kid I would watch on
the news celebrities receiving the Star all the time. I never would had
thought, I would be receiving such an honor in my life. Like the celebrities I
once watched on TV. That day thousands of people, screaming and cheering.
Spilled into the street of Hollywood Boulevard stopping traffic to see the
ceremony. We were so excited, all the members of the band we're together except
Gregg Rolie I wish he had made it. We were on the news that night. It was a
dream come true. A great memorable day for all of us.
I was the bands first front man lead singer songwriter. I help right there
first songs to reach the Billboard charts. And gave them a new direction.
Are you still friends with the guys from Journey? What do you think of their
last releases with Arnel Pineda?
I've always gotten along with them through all the years. I see them pretty
much every time they come into town. Ross and I talk and text each other from
time to time, matter fact I'm going to see them tomorrow night in Norfork
Virginia. I've met Arnel a couple times he's a really super nice guy. So we're
all family.
As a parting thought – hit us with the top
5 albums of all time according to Robert Fleishman
1.. Beatles.. Revolver 2.. Radiohead.. OK Computer 3.. T Rex.. Electric
Warrior 4.. Muddy Waters.. His best 1947 to 1955 5.. David Bowie.. Scary
Monsters
A recent release with accompanying video is the teaser from the new album MAJESTIC released March this year. The song is titled One Day and starts off with a a tub thumping, melodic guitar riff that instantly grabs the attention. Roberts vocals are clear and vibrant as always. Their signature sound is there but this song doesn't stop there. It builds and builds and with the help of some spectacular backing vocals transcends into the realms of Floyd and just takes you away on a musical journey of epic proportions.
Whoever is doing the mixing and production of this music really has a talent - the guitar tones are sublime, the vocals are crystal clear and each instrument has it's own tonal value and voice. This is easily my song of the last age and as you can tell I simply adore it. If this is a taste of the album to come, remember where you read of this band because great things are right around the corner. The next mega-band? I bloody well hope so!
http://www.theskyofficial.com/videos.php
Also in 1993 producer Tom Werman (Motley Crue, Cheap Trick, Poison, Nugent, LA Guns, etc.) was at the helm for Pariah's To Mock a Killingbird" album. An amazing album featuring the tune "Love To Turn You On" but the band was dropped by Geffen records._cover.jpg)
