|
 |
|
Interview with Glenn Hughes
By Joe Florez : May 2007
|
|
|
It’s hard to believe, but Glenn Hughes
(appropriately dubbed “The Voice Of Rock”) has been singing and
playing bass for 38 years and there seems to be no slowing down. Name
another man that is constantly in demand to be on other peoples’
projects and consistently pumps out his own material as well?
Furthermore, it seems like the longer he has been in the business, the
better his voice gets. I can’t think of anyone else who gets better
with age. Mick Jagger, Michael Bolton…NOT! Glenn is one of those rare
gems who can combine soul, funk, rock, jazz and then some and make it
all work beautifully. On his latest offering Music For The Divine,
there are eleven excellently crafted songs that will definitely get
your feet movin’. It helps that he has hired once again fellow Chili
Peppers alum Chad Smith who pounds the skin with tremendous rhythm,
but also on board is John Frusciante.
Just for the record, if you live in L.A. and New York, be on the
lookout for some rare shows to be done on the North American shores.
It’s only been a year since “Soul Mover” and you have struck back with
another dose of jams. The first track off of Music For The Divine is
“The Valiant Denial” and it’s a highly energetic song that is
infectious to the ears. It’s a mixture of funk and rock that will
stick in your head for a long time to come. There is great harmony
vocals incorporated into the song and what is interesting is that
toward the end of the song you have a string arrangement inserted.
What made you decide to break up the vibe of the song when you
composed it?
“Valiant Denial” was written in 3 segments. I wrote the introduction
after breakfast. I knew it would be the intro to my album. I came up
with the chorus and verse after lunch on my Martin Acoustic. Later
that evening, I went into my studio and came up with the orchestrated
part at the end.
“Steppin’ On” is 100% funk with passionate
vocals coming from you. Do you always eat, sleep and breathe the
specific genre?
“Steppin’ On” is classic Glenn Hughes funk rock. I thoroughly enjoyed
writing this song. I do eat and sleep and breathe this specific genre.
I feel I am one of the pioneers of this musical format.
|
| |
The one thing about you is that you aren’t one
dimensional. You can get down when you have to, but also write a good
ballad and you prove it on “This House.” Do you find it hard to create
a ballad or does it just come naturally like everything else you
create?
“This House was written at the very end of the recording session at
Chad's home. I was playing the verse on my acoustic and Chad asked me
what it was and I said it was just an idea I had and he asked me to go
finish it. In half an hour I finished it and later that evening we
recorded the song.
One song on here that was interesting to hear
from you was your take on The Moody Blues “Nights In White Satin.”
Unlike the original, this one has a bit more bite. It’s a little
heavier , but is true to the original despite you adding your own
little flavor to the mix. Why did you choose this one?
Chad wanted me to have a cover song on Soul Mover. We
recorded “Nights In White Satin” after much thinking on
my part that I wanted to pay my respects to The Moody
Blues who gave |
 |
me
my start in the industry in 1969. This happens to be one
of John Frusciante's favorite songs and
he plays an amazing part in the recording of this song.
Once again, you worked with Red Hot Chili
Peppers drummer Chad Smith who is incredible and fellow partner in
crime John Frusciante. Was it a natural choice to pick him up after
having Chad?
Chad and John are two amazing musicians and working with them both is
a complete joy. They are the funk element of the Chili Peppers and of
course adding them to the mix was a wonderful moment for me.
Frusicante says that Smith, Hughes and Frusciante are a great trio.
“Music For The Divine” was
recorded at Chad’s house. Now, was it in his house or a
studio that this was put together?
The album was recorded in Chad Smith's Hollywood Hills
home. We had some of Frusciante's gear and Flea's
recording equipment. And as I said “In This House”, it was
built on love.
I think what makes this record and
the last one “Soul Mover” sound so great is that everyone
is on the same page and understands each other. You all
know funk and play it respectively and it all runs
smoothly.
Soul Mover and M4TD are selfish albums in a way. I got
tired of many people wanting me to record a specific kind
of record for their ears only or for their opinions. From
this point forward, I want to create records that are from
my own art and unadulterated and not watered down. You can
expect my records to sound vibrant and fresh.
You really know your talent because
on your last album, you hired Dave Navarro to play and he
did an incredible job. Did you scope him out and get to
know his material before having him join on “Soul Mover?”
I have known Dave Navarro for a few years. We have a
spiritual bonding that goes back to 1991. He is the new
breed of guitar players. I think I am the only one in my
peer group that is working with the newer breed.
What I love about your music is that
it’s soulful and positive. If you are in a slump, you can
throw any of your records on and feel good. You must be a
very spiritual person, no?
Yes, I am spiritual. It is difficult for anyone to say
that. I think you have to live it rather than say it.
Sometimes I may listen to some of my work to lift my
spirits. I like to make music to make people feel.
|
| |
I am glad that a record label like
Frontiers is out there to put this out because who else
would in a time when only commercial rock gets the big
push.
Any record label I work with, I have to have commitment
with. Some times it is difficult for an artist to get the
push they deserve, but I believe if you continue to push
yourself and don't sit back on your laurels God will show
you the way.
2006 was a busy year as always. You
worked on the Moonstone project and even toured in Europe
for that. How did that go?
I am halfway through my Euro tour. I will be doing
festivals through September. I will be going out with
Moonstone Project as well. I like to keep busy. My profile
has definitely been raised
One of the coolest things you did
was be on Quiet Riot’s “Rehab” CD released in 2006. You
got to co-write and sing on the album. How did you get to
pull that off? Are you on the whole thing?
Kevin Dubrow and Frankie Banali are two of my closest
friends. Kevin asked me to come to Vegas and help him
write some melodies and lyrics for him to sing. He is such
a good guy and I believe he is singing better than ever on
this album.
You also re-mastered the popular
Hughes/Thrall from 1982. I have the original version
only. Can you hear a tremendous |
 |
|
difference in sound?
I own all my own work, so the re-mastering and re-releases
will be out when the time is right.
Do you plan on re-mastering any of
your other discs in the near future?
I will in the next couple of years.
A very successful collaboration was
the Hughes-Turner project. You pumped out two of them as
well as a live CD and even toured a little bit for it. How
was that? If the planets ever align themselves again, will
we see a third one?
HTP was only ever going to be a 2 album set. I
wrote the songs primarily for Joe. He is a great singer,
but it was taking me away from my love of the soul and
funk which is so dear to my heart.
What made you decide to record the
DVD “Soulfully Live In The City Of Angels” in a recording
studio with just a handful of people as your audience as
opposed to recording from one of your gigs in Europe?
I wanted to make a DVD in the same studio where I made
Soul Mover. We invited some website fans from all over the
world to come and hang out with me in the studio for a
day. What they got was “Soulfully Live In The City Of
Angels” recorded at Sound Image in L.A.
For more info on Glenn Hughes, visit:
www.glennhughes.com
|
|
|
