Kelly Keeling Interview

August 29, 2002

By:  Neon Blonde  

Introducing Kelly Keeling of Baton Rouge fame and also Platinum Record (The Rainbow in Hollywood, CA) receiver from his collaboration on Alice Cooper's Hey Stoopid, Platinum Record for Blue Murder, and Gold Record for Michael Schenker Group collaboration.

biography

  Q:  The first thing I would like to ask you is I heard a rumor about your sixth grade talent show and that you played Rush 2112.  Is this true and what made you pick this particular piece of music and was it difficult for you to learn?

  Very funny. I was practicing, learning Rush’s All The World’s A Stage.  That album really had an impression on me being the only music in pop/ rock that I accepted besides the Beatles or Beethoven really at that point. I just really got into it, and it was like the next step for me in guitar. Leads and bass; I could understand what Lifeson and Lee were doing. So, at that time, end of 7th grade I think it was, I was asked to participate, me?  Scared me?!  No way. My dad talked me into it and made me practice in the garage every day until I was ready.  I planned on playing rhythm guitar to Temples of Syrinx, but I couldn’t help starting with Overture. It was the last day of school till summer.  The kids went NUTS like a rock concert. I had a 100-watt Yamaha of some sort my dad had rented to inspire me. Outside on the playground I did the leads with an echo plex.  Must have been odd without the rhythm music. And at the end where the explosion happens on OVERTURE, before Temples Of Syrinx, I banged the top of the head so the spring reverb could make the explosion sound, the kids went nuts. I still remember the look of panic and disgust of Ms. Ruffin, my band teacher’s face.  She was great and had a good ear and I had challenged her all year and wasn’t allowed to go to band festival performance that we had worked on ALL year due to one tardiness, I was probably too loud and out of tune, with no band, and hey I was forced. And the kids loved it. Couldn’t reprimand anyone cause it was last hour last day. Been doing it ever since. I had completely forgot about that day!  Cool!

  Q:  Tell me about your earliest memory of hearing any song by the Beatles.

  I was 6 or 7 yrs old.  James Paul McCartney TV special and it was “My Love” that brought me solace. The Beatles was Paul’s band as far as I was concerned as a kid. Then the White album, I remember Maxwel’s Silver Hammer around 7 being a favorite, also Octopuses’ Garden. And around that same time the Majic Christian movie with Paul McCartney’s Bad Finger song was out. I knew it was him and had to have it. Lennon and Harrison were later.

  Q:  A lot of your music/songs have a definite Beatle influence.  Have you ever done anything musically/professionally/personally with Paul, Ringo, or George (before he passed away)?

  I did a gig and a few recordings with Roger Daltry of The Who and Denny Laine who was in Wings. The shows we did, Denny did his parts and I got to do the McCartney parts.  Just like in my bedroom as a kid. We did Jet, I did the keys, guitar and vocals. COOL. Band On The Run and Go Now, Denny’s classic from the Moody Blues.  With Daltry, the same show I got to do the Pete Townsend parts. We did like BABA O’ Reilly and Won’t Get Fooled, I Can See For Miles and Pinball.  And the song I had written for the movie. The whole reason for the gig was to set the movie off to a nice introduction to the press as it did. CHASING DESTINY is the name of the movie. Prosperity Pictures. Its out at Wherehouse or local. More info on my site about movies etc. Cool song.  I worked with George via tape we did a song called the Light That Has Lighted The World, one of his beautiful ones, and A Dream I Followed. It’s not been released due to copyright messes.

  Q: Out of the four Beatles whom would you have most liked to work with?

  I think working with George could have helped me finish my songs, add choruses, add verses. He did so many great works with Petty, Dylan, Geoff Lynn, Orbison, a great collaborator. Very in touch with his emotions I think. Paul I think got too busy. His newer work I didn’t get. Some were great, if I could have helped him with the musicality of some of the songs and maybe push him to get it a bit better. We both may have walked away with something. I am in such awe of McCartney. I saw him Live a month ago. Flawless. Perfect voice. All the hits. I think he may be an Angel and not know it. Very, very special person. I learned some very basic fundamentals from McCartney, such as the descending lines in Blackbird, the song. (which I used for a 6^th grade book report). “How To” was the assignment. You can notice similarities in the musicality of I’ve Found and There Was A Time from Dokken. To Michelle and Blackbird. Not in song just in instrumental structure and descending and supporting melodies. Beautiful and simple, with many heart string notes. Majors and minors.

  Q:  Tell me about Warlock.  What was it like for you being fourteen years old and having a band that you could call your own?

  I was terrified. Mike Bearb the drummer and I had played In PEGASUS where we did correct 2112. The keyboard player quit which meant I had to learn the parts for upcoming shows.  Or no rent and I wanted to be independent away from home. I worked hard.  We had Kansas songs, ELP, and a bunch of Rubbish. Oh we did a Beatles medley. I Am  the Walrus. Hard key part at that age and Strawberry Fields as well and Lucy in the Sky. I remember that being a very,very charged vibrant part of life. Crash course.

  Q:  It’s quite an undertaking to play songs by such groups as ELP, Kansas, Jeff Beck, and Carmine Appice.

  I never liked Beck.  Our Drummer Mike Bearb  (Big Mike ) was an APPICE FAN, so I was exposed to my future band mate through him and actually didn’t really get him. Which made it easy to suggest to him when I was the writer for projects later on.

  Q:  According to your web page Warlock developed a considerable following.  Tell me about that.

  We were the only band in town and we all know Lafayette back then only needed a simple excuse to show up and drink beer, We played a lot to pay bills and they followed. Lots OF crazy people. So much fun though. I always had to go home cause I was too young to even be in the bar, and usually was disciplined to practice on what I had screwed up for the night. We did some New England songs I was fond of. Explorer Suite, It’s Never Too Late, Alone Again. Oh, Nobodys Home from KANSAS. The Wall, The Spider, Portrait, HE knew. I got to be king with all those loud synthesizers. Time of my life. Always in white like Wakeman. Our originals were similar to the Angel song The Fortune, which we also did. The Greg Geuffria parts were lots of fun. The Cajuns hadn’t seen anything like this. These screaming Opera sounding synthesizers. Lots of fun!

  Q:  What kind of influence did Tyrant have on you as far as what you thought about the aggressiveness of the guitar, etc.?

  I really joined Troy Thibodeaux’s band and I was tired of Sears. I had bought the gear I needed, so we went on. I don’t remember much about it but that it was really hard work. And I wasn’t crazy about the heavy metal.

  Q:  After Tyrant you came to work with another band, Trilogy.  I read that there were actual bootlegs of Trilogy.  Do you have any of these?  How did you find out about their existence?

  Someone in Germany has them.  That was a great band. I remember all about it.

  Q:  When Trilogy broke up in 1985 you joined Castle and you picked or wrote all the songs.  Was this your first real endeavor at writing or had you done this before?

  Trilogy was a lot of my songs and Warlock I wrote our songs as well. I was writing melodies when I was a kid. I remember McCartney saying once that he didn’t realize that everyone DIDN’T just walk around whistling new melodies. IF it’s good I remember it and do the perspiration and record it, later turns into LA LA lallaa, then words.

  Q:  In 1986, you came to join a band by the name of Baton Rouge.  Which by the way, in my opinion, is what thrust you and your talent into the music biz’s point of vision.  This band however was known by two other names before Baton Rouge (Voices and then Meridian).  What or who was responsible for this name change?

  The chairman Ahmet Ertigan who actually discovered me on that level wanted the name change. We obliged. Obliged.  Strange I had sort of made it and I was the most unhappy with the band ever. I liked the album but it was hard to get into it live. So much formula, and repeat chant choruses. Jack Ponti a gifted songwriter and producer had gotten involved and so said made us marketable. Unfortunately for Bon Jovi type of music during Alice & Chains Man In the Box, didn’t fly although we did have lots of success in the Midwest and southern states and all radio played us for about three years heavy rotation, MTV as well. I still get royalties from that album.  Someone plays it.

  Q:  In 1987 the band moved from Louisiana to Los Angeles.  You worked under producers Mike Clink and David Foster.  Is that the David Foster?

  Yes.  David is wonderful. Our manager introduced him to us during the time I was being signed as a songwriter for MCA. We used David’s studio, he gave us many tips, and actually made us fire our drummer who had lived with us for like 5 years. That was bad and decided he would not work with us if I didn’t sing and if the singer didn’t play lead guitar. It was the other way around. I was to do one song, then is where they noticed that I should be doing it all. This started the animosity for me not being as good a singer.  So, the original guy thought that was hard. HE hated me for a while. Still does I think for that. “Man This IS My BAND!”  It was horrible.  What was I to do?

  Q:  How did you feel when they suggested that you be the ‘vocalist’ for the band?  Had you ever envisioned yourself as being a vocalist or were you just interested in the guitar/writing music aspect of it?

  I was horrified but enjoyed it.  It was very invigorating. See, I liked being one of the singers. Like KANSAS, Beatles, Styx, Deep Purple with Coverdale and Hughes. But not solely THE SINGER.  Horrible.  Still don’t like the idea, but it has worked.

  Q:  Baton Rouge did two albums before the band broke up in 1991.  The first being “Shake Your Soul” and the second one  “Lights Out On The Playground”.  Were these two albums similar in music/sound content or did the styles vary?

  First one was good, second was horrible. There it is. I was focused and the band had come off the road, was hung over and Ponti had just done Alice Cooper and was the biggest thing since sliced bread so, since we were to blame for its sad success when it was really due to label changes, we got the abuse. Jack was very mad at the state of the band. He had a right. Everyone was burnt. I was on tranquilizers to help me deal with the chaos and the vibe as I remember was just MISERABLE. I think dad’s dad had passed away and he was completely depressed, girlfriend problems, and I was threatened a lot, begging him not to send us home. It was not my most fond moment in life. Pleading to stay and finish the album may have been a mistake. By the end of it I was a complete wreck and wanted nothing more to do with the music business and had to go back on tour to support a record I hated.

  Q:  Baton Rouge then came back in 1997 with a self-title album “Baton Rouge”.  What was it like working with the band again?  Was it the same members?

  Don’t get me started on that. Maybe another time. I am disgusted by the situation.  I’ll explain later.

Q:  I’m a huge Alice Cooper fan. You came to work with Alice in 1991.  How did it affect you?  What did he think of your talents?  How did this open the door further for your career?

  First platinum record, actually, which resides at The Rainbow on Sunset.   This was one of the main focuses during the making of Baton Rouges’ Lights Out album. This is where our producers head was, taking BR time to record and write songs for Alice.  I happened to be there when sessions were going for Alice, and I happened to hear something that sounded wrong, and made a suggestion, and since I was there, we were all there, we did all the backgrounds.  I was impressed with Jack’s demos with Alice more than the album. Hey Stoopid was much better on Jack’s demos and was Loaded Gun which is why we redid it.  Oh no, don’t get me started.

  Q:  Tell me about your work with John Sykes of Blue Murder.

  I love John; he’s one of my best friends. Shame we aren’t in closer contact.  I saw him and recorded everyday for about two years. Learned a great deal from him, then more later.  Brilliant person, gentleman, class, gifted in, many ways. Music is a result of his true brilliance. Elevated Alien Creature. Love him.

  Q:  You quit the band in 1993.  Any regrets?

  No. Me quitting the band had nothing to do with John, to be honest. We won’t go there. I do understand Carmine and Tony wanted to rock; John wanted to do family so Guitar Zeus was born.  I basically took Sykes place in a way; guitar, songs, vocals. Actually songs I had prepared for Blue Murder is what we ended up using.

  Q:  I love the Whiskey (made famous by such people as Jim Morrison, Jimi Hendrix, Janis Joplin, Van Halen to name a few) and this was where you met John Norum (who is now with Dokken but we’ll talk about that later…lol) and worked with him from 1995-1997.  What was it like working with him and what did you feel that you were able to take away from that collaboration?

  A bit empty actually. Didn’t pay what I was used to and the tour in Sweden was EXTREMELY HARD. I left the tour during a blizzard to finish Guitar Zeus. God Bless America!

  Q:  Tell me about the Guitar Zeus projects?  How long did it last, how was it received and how much fun was it to work with Tony Franklin and Carmine Appice again?

  Carmine and Tony may be my best friends in the whole world. I love those guys. And there is not a better rhythm section. Writing songs with them was bliss. Recording, scary, keeping up with them, and the demos I had done. Very, very wonderful experience. We plan to do more when we all settle a bit. Tony introduced me to Juicing, Vegetarianism. No intoxication, Spiritual health, meditation, HARMONY basically. Carmine has been there, as a brother, as a soul brother.  Love the guy. We are family. They are simply the best.  Not many would dispute that. I have been blessed.

  Q:  Did you get to meet Richie Sambora or Brian May?  Or was their part of songs done before you got into the studio?  How did something like that work?

  We did meet and hang out on various occasions.  But by the time the solo’s were to be done, see, we the band, Carmine, Tony and I recorded the music, vocals, and mixed. And by this time it was two to three months, every day.  I had had it and needed to go home and give it a rest. Since it was just solo sections the artists were to do I had not much say in it.  In hindsight I should have stayed for some.  The key changes had to be followed on some occasions and weren’t. I tried to make the solo sections interesting, unfortunately it was over some people’s head. I was surprised at Yngwie’s bit. It was a chromatic blues section and, if you hear it, it doesn’t work. He plays his music brilliantly. What a master. Richie and Brian were some that actually got it. Steve Morse did a brilliant job as well.  We picked 4 Miles High for him.  I know his style well and knew what he would do.  Classic.  He is a master.

  Q:  Tell me about your involvement in “Chasing Destiny” (soundtrack 1998).  How did you get this gig?  Where can we get the soundtrack or see the movie?

  Richard Mann, producer of the movie called me up in San Diego; we had worked on the Rich Girl soundtrack in 1989 or so. He sent me the script and wanted one song, the title, Jesse.  So I went to town and wrote 4 songs, demoed them with Carmine when he got there and when we had the meeting for presentation they asked me I if could change the lyrics for the other songs which I did overnight, presented them in the morning and took over the soundtrack. Other songs were rejected I think as a result. I then stayed in Los Angeles, and worked like a dawg.

  Q:  You also did another soundtrack “Totally Irresponsible”.  Is this something that you would be interested in doing again?

  Sure.  Richard always came to me when he had soundtrack song problems. I was glad to help.

  Q:  I love The Scorpions.  Michael Schenker is a very talented musician.  How did you come to meet him (1998) and end up working with him on his MSG-Unforgiven project?

  We had wanted Michael on Guitar Zeus so I think he heard of me that way. And Mike Varney, the producer, are great friends so they asked me. I declined since I was in the middle of a solo album, as I still am but had breaks. Anyway, they met some demands, and I flew out for 12 days, wrote lyrics/melodies in the morning, recorded a new song every day and I was out of there in 14 days.  Some sounds like shit, some is brilliant. What happened is I went home thinking ‘WHAT just happened?’ Michael is brilliant and a sweet person.

  Q:  The Heaven and Earth album that was released in 2001 was received with much success.  What ever became of the band? 

  The guitar player has his head up his ass!  LOL  C’mon, Stuart,  laugh man.  You need a good laugh.  You’re going to implode if you keep up the mood. I like to be around people who have fun. We stopped having fun at some point. Because of me?  Them?   I don’t know. I love the band.  And I am ready to do number two as soon as Stu calls.  He’s the guitar player.  It’s HIS band... I am ONLY the singer as I was abruptly informed at our last recording/ writing rehearsal session.  So when things get lighter I’ll be glad to participate again. I guess they may be writing material or finding a replacement for me. Usually my friends keep in touch. I went to see Paul McCartney with Richie the drummer a few months back, great fun. Haven’t heard a word from Stu. Guess he hates me.  Dunno. I walked out. Guess I was an asshole. It was a first for me to be so mean. I had had enough comments and insecurities. We also lived together as a band. I’m sure if we did it again as professionals we would have a dynamite follow up.  Stu and I do the blues really well.

  Q:  Please tell us about your tribute to Grand Funk Railroad, in 2000, another one of your many influences.

  I asked them actually if I could do Mean Mistreater.  Love that song.

  Q:  Is the project with The Well still on hold?

  Yes. I can’t reach Mitch damn it. Racecar driver now. I may release some of it on my album.  Good stuff.

  Q:  You did a King Kobra album with Carmine Appice, in 2001, which you said was a great disappointment to you.  Can you explain?

  No budget, the bassist got busted, they ruined the mixes, speeded up some, HORRIBLE.  My mixes of Hollywood Trash are great, and Marcie didn’t show up.  Way, way too rushed. To do that sort of time restraint album you need BOTH Carmine and a bass player.  I wasn’t used to the formula of DOING IT ALLL.  Jeez.  Break my back.

  Q:  You became friends with Don Dokken and worked with him and the band on their newest album (2001), “Long Way Home”.  What was it like working with Dokken?  Would you consider doing it again if asked?

  Yes indeed.  Don and I are very familiar spirits, like we have been friends since childhood.  Very few people understand him.  He understands me.  We really get along musically and he finishes my thoughts as I finish his.  We sing the other harmony, always-just works.  We know the same musical language and have the same appreciation for fine music and fine 10 yr old wine, classic cars, motorcycles and classic guitars. And I need him to get off the road so he can help me with my album damn it.

  Q:  You describe your new solo material as ‘the softer side of Kelly Keeling’.  What does that mean?  Will we see more of a Beatle influence on these works?

  Well that comment was before, this is now.  Sure there will be softer sides but also heavy as have ever gotten.  And this doesn’t mean with metal guitars it means heavy as in Mental. You’ll have to wait & see.  Kansas got very heavy at times. Kerry Livgren has participated on a song, the heaviest song I have ever recorded. It’s about the coming of Christ. It’s like watching a movie. Heaven’s gates open at the end. Trumpets, brass section, choirs, orchestra, metal guitars, bombastic drums.   Carmine.  AMAZING.

  Q:  Since you are so very busy do you ever have ‘free’ time and if so what does Kelly Keeling like to do for him?

  I am going to Sea World tonight after a nap of 4 hours, back to work at 12 am.  No rest for the…I’m not wicked so lets say gifted.  Simply trying to share the gift as soon as I can get it released. I have no free time.  I go to the gym every day, swim in the ocean on weekends, alone. Stone cold sober.  God, music, dreams, cats, plants, guitars, vocals, studios, about it.  Oh grocery store.  Whatgrass Juice, Vegetarianism. Lots of protein shakes. Bit of free time I guess. God is good to me.  I have a wonderful life. Wish I had someone to share it with.  That will come.

  Q:  Where would you like to see yourself say in a year’s time?

  Ranch farm, lake, animals, garden. Lovely maiden, kids even if adopted. My son with me, no neighbors for 5 miles. Fish farm maybe? And ducks & chickens.

  Q:  Since the musician’s that you have worked with is like a “Who’s Who” is there anyone that you would like to work with that you haven’t yet?

  Carmine and Tony are all I care to work with.  I like Darren Hayes a lot. Also Nick Nowels and Walter Afeineseif and Rufas Wainwright.  Brian Wilson, Jellyfish, and some members from KLAATU I’d like to work with. And IF David Foster and I could finish the song we worked on. It needs the full on orchestra that he does.  I’d like Whitney or Celine to sing my song Morning Song and David to produce it.  Or produce me doing it with a symphony.

  Q:  What would be the one thing that you would like for people to say about your music and the mark that it’s made on people or the industry?

  It has not been heard yet.  Hold the thought.  What they feel is what I want them to say. I’d like them to say what they are saying about Morning Song and I’ve Found by Dokken, also some of my solo songs unheard.

Q:  Tell me about the projects that you’re currently working on now.  Your website says that you are currently working on material with Heaven and Earth (for 2002).  Tell us about that.

  NOT.  I secretly have a pile for them if it happens.  But I am only the singer as I was told so.  I may have to use the pile for myself. I’ve been asked do an album with H&E producer Howard Leese from Heart. That will be great, H& E.  Nothing as of now.

  Q:  When you start working on a new project or with other musicians do you contact them or do they contact you?  How does something like that work?

  Depends, totally.  I usually don’t want to work.  I am asked a lot.

  Q:  When do you expect that your solo work will be complete?

  When it’s done.

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  Q:  The floor is yours, Kelly!  Anything that you would like to say to all music fans out there?

  LOVE ONE ANOTHER, hold ON till tomorrow, ask questions, be polite. LOVE YOURSELVES accept yourselves. Let God look through your eyes. Get close to Him.  Through the mediator between God and Man.  The Big J. LISTEN. Signs and wonders. Get ready and for songwriters and musicians, remember, there can be no HARMONY; you cannot hear true harmony..

  Unless there is

HARMONY.. Keep the peace

  NB:  Thank you so much for taking time out of your hectic schedule to do this interview!!

  Much Love.. anytime.. stay in touch…

  KELLY

KEEP ROCKIN'!

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