Raven
By Alun
Thomas
The
circumstances surrounding this interview are something I'm not particularly
proud of. As a long time fan of Raven and their classic brand of heavy metal
I've had few negative things to say about the band, but a review I wrote for
the bands last studio album, 1999's 'One For All' was scathing to say the
least, but intended more for comedy than realistic opinion. The review, which
was written for Kicked In The Face, fell into the hands of Raven vocalist and
bassist John Gallagher, who sent an e-mail to the editor of the website
claiming to be both amused offended at once, the latter the more predominant of
his thoughts.
I quickly
made amends with John, as having a metal great such as himself thinking I was a
severe critic of the band something I would have trouble living with. John read
other pieces I had done on the band and seeing I was a fan agreed to to be
interviewed, a satisfactory conclusion to an unfortunate incident! Raven of
course need little introduction, Newcastle's finest metal export led by the
original Gallagher brothers John and Mark, who for over quarter of a century
have created a distinctive brand of metal, energetic and always heavy, truly
befitting the 'athletic rock' title they branded on themselves in the early
80's. Through albums like 'Rock Until You Drop', 'Wiped Out', 'All For One' and
'Nothing Exceeds Like Excess' the band have carved out a niche for themselves
that has earned them the status of metal legends. With a wealth of history,
memory and experiences behind his back John Gallagher talks with The Zephyr and
enthusiastically fill in the gaps on Ravens career and updates the bands
future.
Growing up in Newcastle in the 70's
appeared to be a grim proposition for an outsider like myself, weaned on images
of urban decay, bleak surroundings and rising unemployment, not to mention a
mediocre football team. John and his brother developed a taste for music at a
young age, which offset such harmful prospects. 'In the 70's heavy music was
totally underground' begins John, 'we were introduced to music from 'Top Of The
Pops' or the top twenty show on Radio One.' The heavier side of rock wasn't too
long forthcoming however. 'Bands like Status Quo, Sweet Slade, Free, Purple,
Sabbath, Queen, Zeppelin, Budgie and Heep all played the city hall in Newcastle
so we would learn from the best! he explains, making clear their reasoning for
pusuing heavy metal.
John
could see early on that music was a way out, and viewing these bands made the
passion and drive greater. 'Yeah music was one of the only ways out, but we
were not smart enough to figure that out. We just wanted to play like our
idols. We'd rehearse in a church hall for a few hours, then ritually throw our
gear around and trash guitars, no audience, just us going apeshit! But Newcastle
United's dubious performances did not affect us too much!' During the course of
the 70's the band gradually developed their fast paced style although not
initially as a power trio. 'We were a four piece from 1975 to 1980 until we
went to a three piece. It was a revalation as we all had more responsibility.
There are no passengers in a power trio, but so much more room!' As for the
birth of the bands frenetic form of metal? 'The fast stuff we loved the best'
says John, 'Highway Star, Breadfan....It was a gradual thing but we liked the
high tempos and a lot of chord changes. I always point to the photo of Mark on
the 'Don't Need Your Money' "7" single. That explains Mark's style
totally. It's fuckin' nuts!'
Raven signed to Neat Records and with
drummer Rob 'Wacko' Hunter released their groundbreaking debut 'Rock Until You
Drop' in 1981. One of the greatest debuts ever heard in metal, it established
Raven as leaders of the NWOBHM, but despite containing a heavier and rawer
sound than Iron Maiden or Saxon, it appeared Raven didn't receive equal
recognition. How did this sit with John? ' The media likes it either real safe
or real weird' John tries to rationalise. 'I like Saxon.....Maiden also, but
there were few real monster riffs, they wore their influences on their sleeves,
like Wishbone Ash on steroids! I can't comment on whether we were more
inventive, but the great thing was all those NWOBHM bands had their own sounds,
and you can't say that about a lot of bands today.'
The raw
nature of the first two albums almost suggested live in the studio affairs,
leading me to ask John if the songs had been part of the bands live set prior
to being recorded? 'Yeah, basically we went in and did our set for the first
album. We were growing though with the way we played and our writing, listen to
to something like 'Over The Top' and 'For The Future' which were only a few
months apart. The second album (' Wiped Out') was written quickly and recorded
in a whirlwind one week session. A few were written in the studio on the spot,
'To The Limit' being one. This also includes the songs on the 'Crash, Bang,
Wallop'. The energy was jusy insane!!'
Big things were expected of Raven after
this pair of gems and third album, 1983's 'All For One' was expected to push
them into the major leagues. Did John also think this would be Raven's big
commercial jump? 'No' he states ' it was just a natural progression- although
it sold well. The criticism of 'too fast, blah, blah, blah' had an impact so we
figured we'd explore some medium tempos, as songs like 'Hold Back The Fire' and
'Hard Ride always worked great live and helped set up the faster stuff'. The
production values were noticably improved as John confirms. 'We knew we did not
want to record at Impulse Studios again, after the experience of recording in a
'real' studio in London for the Radio One session we did. We also wanted a
producer, enter Michael Waegner and Udo Dirkschneider! '
'We did pre-production, recorded in
London and it was so much fun! We knew we had a great album and the UK press
trashed it as well! But with this album we were able to tour the US which was a
revelation'. How exactly did Udo come to be involved with the production of
'All For One'? 'Udo was on the outs with Accept and was doing work with Michael
Waegner so they came as a package deal, but we loved the sounds on 'Breaker'
and 'Restless And Wild' so we said let's do it Udo speaks great English now
days...not so then! One night he was mortally drunk in the studio singing 'In
Trance' by The Scorpions, 'I vake up in the zee morning and zee sun begins to
shine.' Hiliarious!' recalls John with candour. 'They helped us focus our
sound' he continues ' we played for power and impact and the combination of
those songs and that big sound was great.'
The second stage of Raven's career began
in 1984 when they were signed by Atlantic, securing the all important major
label deal. This inevitably led to Raven making concessions with their sound,
with 1984's 'Stay Hard' toning down the heaviness of the earlier years. Was this
done to satisfy the label or did you have the urge to continue in your usual
manner? ' It's weird, it all developed from wanting to get off the Neat deal.
We were working on an album and the idea was to do an album to give them to get
out of our deal. That's when Atlantic became interested so we 'upgraded' the
album (' Stay Hard') and started to listen to 'suggestions'. Although the songs
are good and its a decent album, it's the 'Pack Is Back' album that took the
cake:
A) Rob played to a click track by himself,
then we did our parts, which killed the Raven feel on all but a couple of
tracks
B) The idea was a high tech metal album,
but it got poppier as it went on....
C) Instead of crazed American football
players we looked like mutant hairdressers on the cover!
But live we still killed, it was just
bigger and crazier.'
Were there any songs that you were
hesitant to record during 'The Pack Is Back' sessions? 'Luckily there were one
or two that were CHEESIER that thankfully got canned before being finished'
John says relieved. 'Still I feel there's a few decent songs on that album that
have some great parts, and some stinkers too! Initially a few were extremely
heavy, 'Nightmare Ride' for one, but they got 'produced' a little, not Eddie
Kramer's fault. I think he was looking forward to doing a rough and ready live
feel album, but we ended up in technology city, nine million vocal tracks and
redoing everything until it was perfect, and 'perfect' can really suck you
know?'
The band
kept in good spirits however, managing to keep themselves entertained on the
road with various antics, something the band happily indulged in right? 'We
usually surprised everyone ,and still do, as we keep the craziness onstage'
John confesses. 'Back in the early days Rob and Mark would tear it up after a
few bers too many. I actually remember a gig in 1983 on the Raven/Metallica
tour when they started beating the shit out of each other before the encore!
This was due to the lack of sleep, three days without a motel, seventeen people
in a six berth mobile home....agghhh!!!! Drummers are the worst- Joe is a prime
example, the things he's got up....blasted on ozou...climbing through Greek
ruins pursued by the cops...running through Utica, New York half naked after
being caught in the act by the girl's husband....'
I ask John about that Metallica tour, of
which Raven were headliners and how that influenced both bands. 'It was nuts!
Seventeen people in a six person mobile home touring the USA bringing metal to
the masses! We got on well with them, you tour with a band like that and
there's always a bond, like being in a war or something! We've only met them a
few times since then, but that tour was special.' Raven also toured with
W.A.S.P. and Slayer in 1987, which might have seemed a daunting prospect,
especially with Slayer trying to annihilate W.A.S.P. onstage. 'The tour with
Slayer and 'W.A.S.P. was different' John recalls. 'We'd go on first before
Slayer and their fans are notorious for hating everyone.'
'They would throw shit at us, even nine
volt batteries. We's start with the song 'Overload' which has a short break
before the solo and we'd stop dead, throw down our guitars and climb over the
barrier and get into the audience. I'd scream 'You wanna fuckin' fight???'
They'd always back down and the throwing would stop! Jeff (Hanneman) and Kerry
(King, Slayer guitarists) came up to us and asked 'How do you guys get the
girls? Can you show us?' So we were nice guys and showed them the ropes.'
The bands fortunes were slipping
commercially despite their US experiences, while other British acts like Maiden
and Def Leppard flourished. Raven it seemed were heading down the same path as
Saxon, not managing to break the US. Did this stalemate frustrate John and the
rest of the band, knowing full well they had the goods to make the grade? ' I
don't know' is John's straight answer. We were happy ,and still are, to be able
to do what we love. It's easy to play the 'what if' and the 'they suck, we're
so much better' game, but where does that get you? God bless 'em (Maiden and
Leppard), they did great, worked their asses off and deserve all they got!'
Wisely the band returned to their hard
hitting roots following 'The Pack Is Back', with a return to the form of old on
1986's 'M.A.D.' ep and 1987's Atlantic swansong 'Life's A Bitch'. Did this
return to your original beliefs confuse Atlantic? 'They were totally
nonplussed' says John of the label. 'They did not understand it at all and
basically did not help us from that point on. The kicker was a show in New York
we put on specifically for the record company. They came two hours early and
left before we played!! That was when we wanted out.'
Raven
regrouped and in 1988 signed with thrash label Combat complete with new drummer
Joe Hasselvander of Pentagram. If anyone doubted the band could ever return
fully to their old form then they were silenced by the pummeling 'Nothing
Exceeds Like Excess', one of the bands heaviest albums to that point, keeping
in line almost with the thrash label to which they had signed. Was this a case
of the band returningto their roots or trying to fit into the label's
direction? 'Well we were definitely wanting to prove ourselves after the
fallout with Atlantic' John summarises. ' With Rob leaving the band and Joe
joining it certainly was a return to our roots and us moving forward. Mark and
I wrote most of the stuff before Joe joined and we knew it was gonna kill'.
'Mark and I were just jamming' John
continues, remembering the sessions for 'Nothing Exceeds', and he started to
play 'Die For Allah. He played the ENTIRE thing off the top off his head in one
go! Joe added another dimension to the songs and we were off and running....to
a studio in upstate New York- Utica. Yes, where Joe would be running around
naked. We had zero budget, but it came out well!'
Raven took this momentum into the
nineties with the excellent 'Architect Of Fear' in 1990 while continuing to
tour, but at one point early in the decade John teamed up with Paul Dianno's
Killer's to briefly add bass. What was the situation behind this and what was
Dianno like to work with I ask John? ''A good friend of mine was managing Paul
and needed a bass player as he was doing showcases in New York to get a deal.
Raven had just come off tour with the 'Architect' album and the money was good
so I said 'why not'? I get to play all the cool Maiden songs, harmonically
correct, along with the guy (Dianno) who stole my money out of my pocket
backstage in the London Marquee back in 1980. The funny thing was he was trying
to get a deal with no new material!'
'We got a mobile truck outside the
rehearsal hall and recorded a 'live' album. I believe it's called 'South
American Assault'. More like 'West 27th Street NYC Assault'! It was fun for two
weeks playing with Paul, Steve Hopgood and Cliff Davies but I was strictly a
short term hired gun, totally different to playing in Raven! John's main
priority remained Raven and an ep was released in 1992, 'Heads Up' as the metal
scene began to take a nosedive. Raven fought their way through the decade with
albums such as 1994's 'Glow' and 1997's 'Everything Louder', proving their
worth. Just how tough were the nineties, especially with your homeland seeming
to be unloyal. 'Yeah we actually only played the UK once in the 90's' John
reveals disturbingly 'a fun gig back in our old pub in Newcastle at the end of
our 1997 European tour!'
What countries remained loyal to the
band then in this trying period? 'The nineties were hard for most metal bands, we
were doing okay in Germany as we had German management, but by 1993 things got
tough there. We hit it off with a Japanese label and got to tour there and do a
live CD, then it was back to Europe!' Raven's last album to date was 1999's
'One For All' which was recorded in Nashville with Michael Waegner and in 2000
the band toured the US with U.D.O. Tragedy struck the following year when Mark
Gallagher was severly injured in a building accident, which saw him taken by
helicopter to hospital after a building fell on his legs. Thankfully Mark has
recovered after 'a zillion operations' and according to John 'lucky to be
alive'. Mark is back on stage however. 'Unfortunately he'll never be able to
act like a crack crazed ferret like he used to ' John says 'BUT he's still
crazier than most, at the last gig (in Cleveland in May) he was stalking the
stage beating the shit out of guitars and having a grand old time!'
A new studio album is also in the works.
I ask John how much progress is being made and if they have any titles yet.
'Many titles' he assures', many sounds, currently going over them and fighting
over what parts to change/cut out/replace in order to make each song as good as
it can be. Some of the titles include, 'Bulldozer', 'Breaking You Down', 'Against
The Grain' and Long Days Journey'.
As is the norm I ask John his opinion on
the current metal scene and whether or not he enjoys it. His answer is
conclusive: 'Ugggghhhh...too much cookie monster screaming, not enough good
riffs, AND THEY ALL SOUND THE SAME! There are a few bands with some decent
stuff like Shadows Fall, but I get more excited about a band like Muse, whocan
play their asses off, write SONGS with riffs. actually SING and enjoy smashing
their gear up. My kind of band! We joke that when we buy CD's it's usually
nothing newer than twenty years old! Still it's nice to be surprised and I try
not to be a cynical old fart.'
Singling out a definitive Raven album is
difficult, but I question John to what he feels is Raven's heaviest album.
'That's tough, our heaviest albums are probably 'All For One' or 'Architect Of
Fear' he answers surprisingly but knowingly, after all he was there! 'The
trouble is we are all over the place stylistically, a product of our miilions
of influences! So you get some rock and roll, some humour, some Sabbath grind,
usually in the same song!' I've always sensed a keen sense of humour and
irreverance in much of Raven's work, a view John backs up, especially that of
the 'Pack Is Back' costumes! 'Thankfully the costumes were ceremonially burned
in 1987!' he declares. 'It's just our personalities' he explains of the wild
Geordie image. 'I have many outtake tapes from sessions that are just so funny
and it spills over into music from time to time. We keep threatening to play 'the
Ballad Of Marshall Stack' live and may actually do it.'
Of the thousands of shows the band has
performed over the years are there any that have special meaning or stand out
for you? 'There's a few, the first time we played the Mayfair club in Newcastle
was a big deal, the Hammersmith Odeon with Ozzy, the first Aarrdshock festival
in Holland in 1983, playing with Priest in the States....The foundations Forum
gig in 1994 after a killer intro by a big fan of ours, Dee Snider and getting
to play Japan was amazing. To me every gig is the 'big gig' and thats the way
we treat it. Honorable mention to that little gig back in Newcastle where we we
met childhood friends we had not seen in twenty years.'
Raven I feel have never gained the
respect they deserve for being one of metals greatest pioneers, especially in
the direction thrash took in the mid eighties, something Raven helped invent
more than many bands, with a style of speed that hadn't been heard when they
debuted it in 1980. Does John feel the band is as underrated as I do? 'Could be
paranoia, but we've often joked that there'a conspiracy to never mention Raven!
I know for a fact we have influenced many bands and rarely will anything come
up. (Dimebag) Darrell and Vinnie (Paul, both ex Pantera, Damageplan) saw us and
Metallica in 1983 and it 'changed their lives'. Kreator were very vocal about
us and I love them for it, but it's few and far between. In the late eighties,
early nineties there was a clique of metal writers in NYC that appeared to hate
us and cut us down at every opportunity. They all work now for for metal
labels, no wonder it's so hard to get a deal these days! So we are the
invisible godfathers of thrash!'
One last question for John. What exactly
is the rambling gibberish you're saying in 'Crash,Bang Wallop'? with your
amazingly distinctive voice which is actually higher than Gillan in his prime?
'It's all me, the rant in the middle with the Monty Python womans voice is me.
One take. I used to have a tape of that rant, it mentions sucking the brains
out of dead turnips!? Boy I have problems...'
Thanks for partaking in the interview
John and all the great music and memories over the years. I'm sure I speak for
many when I say I appreciate it! 'Thank you! That's a cool statement and so at
odds with that shitty review! And it's our thirty first year- we formed in
1974, played our first gig in December 1975!! Jeez!!'