Mick Jones back on track with revamped Foreigner

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Mick Jones back on track with revamped Foreigner

Saturday, Jun 21, 2008 2:22PM UTC

By Gary Graff

DETROIT (Billboard) - In 1976, Mick Jones found himself out of a job. The Surrey native had a reputation as a guitar gunslinger dating back to his own band, Nero & the Gladiators; session credits for George Harrison, Peter Frampton and Johnny Halliday; and tenures with the Leslie West Band and Spooky Tooth. But after an angry departure from the Leslie West Band, Jones was at a crossroads and looking for his next move. He came up with a winner -- Foreigner.

Recruiting an old mate, Ian McDonald from King Crimson, and some unknown American players, Jones created a juggernaut that has sold more than 70 million albums worldwide and enough hits to fill a double-disc retrospective (No End in Sight: The Very Best of Foreigner," due July 15 on Rhino Records).

After a brief hiatus, Jone put together a new lineup in 2005 and has been touring steadily since.

Critics may not consider Foreigner the hippest band to ever tread the rock 'n' roll boards, but it's hard to argue with that kind of successful track record and the enduring appeal that Jones and his latest incarnation of the band (which includes late Led Zeppelin drummer John Bonham's son Jason and former Dokken bassist Jeff Pilson) continue to enjoy.

Q: In 1976, when you formed Foreigner, could you have imagined still leading the band in 2008?

Mick Jones: I guess I have to say no. (Laughs) The life expectation of bands was pretty low. I didn't even think I'd be playing after the age of 30, 35. I guess the (Rolling) Stones and (Led) Zeppelin were starting to become "classic" at that point, but I had no idea. I wasn't expecting anything like the reception we got for the first album, even. I thought it was going to be a labour of love for the next few years to establish ourselves. I certainly hadn't set my sights past that. So what's happened has been ... unbelievable, really.

Q: How did you assemble Foreigner's first lineup?

Jones: First of all it was with Ian Lloyd, the singer of a band called Stories, who really helped me a tremendous amount at the beginning to flesh out the songs vocally. And one by one I added players. I had recently met up with Ian McDonald, and he became involved. And then I believe it was Al Greenwood, the keyboard player. Then we finally settled, after quite a search for drummers, on Dennis Elliott, and then eventually Ed Gagliardi on bass. Then, after about 50 auditions of singers, we ended up with Lou (Gramm).

Q: Gramm was a crucial find. Was it love at first listen?

Jones: Yeah, it was. When I heard his voice on an album that I'd been given of his band, Black Sheep, I was actually in the midst of writing "Feels Like the First Time." I'd had a few demos from people who'd sent stuff in, and I was listening to them. The moment I heard Lou's voice, it clicked.

Q: What was your vision for Foreigner?

Jones: I wanted it to be a band that had the ability to choose its own direction. I needed it to have, like, a palette, to be able to choose from different colours and different sounds and different directions. I felt that we needed keyboards, from organ through synthesizers, which were still in the early stages at that point. Ian McDonald, who was a multi-instrumentalist, helped a lot, too. It had to have that ability to travel through different styles and create a different sort of style.

Q: At that time rock bands weren't really having pop hit singles. But Foreigner did from the get-go.

Jones: No, it was definitely more of an album-oriented world at the time. I knew that "Feels Like the First Time" was probably a bit more commercial than anything I'd written so far, and "Cold As Ice," I realized that had a bit of a pop edge to it. But to me the important thing was writing an album that you could listen to from the beginning to the end. The singles were sort of highlights, the songs that attracted people's attention more immediately. But my heart was more into making albums.

Q: Did you ever feel that Foreigner as an album band got short shrift because of the singles?

Jones: Not according to the sales of the albums and the amount of people who bought them. I think we were considerably more of an album-selling band. I think the thing really was we were fighting upstream a lot. We had to fight quite a lot with the different trends that came in -- the dawn of punk, the critics, the things flying around like "corporate rock," where the band had been put together in the boardroom of the record company; all this bulls--t. I was always confident in the music, and I put my heart and soul into everything that we did. That's all I could do, and it seemed to work. I always wanted this band to be regarded as an album band more than a singles band. I have a feeling at the end of the day we probably are.

Q: Lineup changes began with 1979's "Head Games." Were you disappointed that the original band didn't stay together?

Jones: I look back now and I think, "Was that the right thing to do?" I really don't know. It was just at the time I felt that the band needed to hone its direction. People may not have understood quite what was going on, but it was the normal process of a band growing and changing on its way.

Q: What's your perspective now on your relationship with Gramm?

Jones: That's a tough one. (Laughs) We had a great deal of respect for each other. We went through a tremendous amount together, highs and lows. We were never the closest of friends, but I think we both appreciated each other's gifts. At times it felt very close. I look back at a lot of great, happy times, a lot of very heady times, especially in the first few years. I don't think there's any malice between us now, but I think ... the chasm between us has deepened. But over time, I'd say it was a great relationship.

Q: Even when he was complaining about you being a control freak?

Jones: (Laughs) If I look back on it, I was probably a little too much that way. I felt I was the visionary of the band, if you like. I was sort of a little desperate at first to keep it that way. But from the very word go I really encouraged Lou's involvement. We wrote a number of great songs together.

Q: Some feel that "I Want to Know What Love Is" was the death knell for Foreigner, at least as a credible rock band. How do you see it?

Jones: I can't really say that. If you look at (our) whole history, each album had a couple of ballads on (it). I think that Lou aired his opinion about it at the time, and that's what led to people jumping on it as a reason for (our) differences. But I can never really think that having a worldwide No. 1 song would be detrimental to a band.

Q: You put Foreigner on ice earlier this decade, shortly after the band's 25th anniversary. What happened?

Jones: Lou and I had gotten back from a European engagement, and I think we both realized we didn't have much of a future; we were at odds about several different things. Lou sort of immediately put plans together to go out by himself, and I just took some steps back and took it easy. I spent a lot of time with my family, getting to know my kids again. It worked out very well for me.

Q: There's a new song, "Too Late," on "No End in Sight" that indicates you don't intend for this version of Foreigner to be an oldies act.

Jones: Yeah, it's not just pulling a band together for the sake of touring. There's a long-range plan now that we really do have with the lineup. It's just very exciting and I'm very much into that. I don't really have time to think about negative things from the past or dwell on things. I'm glad to say that I think I've found my way again.

Reuters/Billboard

Just a Minute With: Musician Peter Gabriel

http://uk.mobile.reuters.com

Thursday, Jun 12, 2008 By Mike Collett-White

LONDON (Reuters) - Grammy-winning musician Peter Gabriel believes the Internet has drowned users with too much choice, failed to democratise the pop industry as much as was hoped and eroded the quality of what people listen to.

The 58-year-old producer, former Genesis frontman, world music champion and digital technology pioneer is involved in two new ventures he hopes will address his concerns.

The first is The Filter (www.thefilter.com), which aims to produce a blueprint of an individual's taste in music, movies, news and views by analyzing what the person buys online.

Users can recommend songs and films to each other, and, further down the line, may be able to customize their profiles by selecting particular directors, artists and critics.

The second is a venture with speaker makers Bowers & Wilkins that offers an exclusive album each month recorded at his Real World Studios and available online as an uncompressed file, which should ensure CD-standard quality.

Gabriel, who helps organize the WOMAD world music festival in Britain, this year from July 25 to 27, spoke to Reuters about his new projects.

Q: What is the main idea behind The Filter?

A: I think in a world in which we are drowning in choice and have access to everything, we are going to rely more and more on good filtering. I think one of the ways we are trying to do this a little differently is (to) integrate the best of expert systems -- best of machine and best of man. There are living, breathing people whose tastes and guidance we trust whether they be friends, experts, musicians, film directors, critics, journalists.

We're trying to integrate their parameters, if you like, with 'you bought this therefore you might like this'. That is part of the mixer idea and it's only in its first stage of implementation. Those people whose taste is available through The Filter, you can then allocate them to the mixer. That would be the aim ideally.

Q: Has the Internet been as much of a force for good in the music industry as you had hoped?

A: I think everyone thought that it was going to democratise the music business, but it's done less of that than we would have hoped. I think if you have good filtering then that is a tool to really level the playing field. If people are starting to really like what you do, and that enthusiasm and that sort of rating is getting in there, then that will make you more visible and accessible so it would then be based on passion and enthusiasm rather than just on dollars of merchandising and advertising.

Q: Are the kind of musicians you typically support, most of whom are not household names, benefiting from the digital revolution in music?

A: Not as much as I would like yet, and as a lot of the artists are losing one of the central sources of their income, i.e. record sales, they need to become smarter in building their own database as a means of accessing their own fans and learning and getting the feedback from their fans.

That's a channel through which they can sell other stuff. We do need to democratise the process of discovery.

Q: Another negative aspect of the Internet you identified is the poor quality of downloaded music many people listen to?

A: The iPod, for example, does have the capacity to hold ... what they call 'Apple Lossless' files, so it's built in and available, but very few people use it and an MP3 has become the sort of new standard and it's a giant step backwards. Whereas in television now most of us are getting used to wide screen or high definition, and that's gone forwards in terms of quality, music has certainly gone back.

To get as small a number of digits taken up as possible something has to be sacrificed and it's unfortunately the music.

... As good as CD, which I think should be the starting point. We're just trying that out with B&W (Bowers & Wilkins) and we have a small number of acts (to record the albums) but it would be great if a few more musicians would get involved and try and put stuff out in formats other than MP3.

Q: Will you be playing at the Nelson Mandela tribute concert in London on June 27?

A: I'm not going to play at this one. I've done four of the Mandela shows now and my wife is due a baby at this time so I didn't want to have a chance of missing that by being in rehearsal or playing. But I will be, I think, going to a private dinner for his birthday party.

Reuters/Nielsen