(updated Tuesday, December 30th, 2003)

Looks like we may see the return of Van Halen with Sammy Hagar! Do you think they will sign with Sanctuary or try for Warner Bros. again??  Plus do you think we will see a Best Of vol.2 before we see any new material? And will we have to wait till fall 2004 for VH to return?

I'm not sure about any of this. I think Sammy may be back with Van Halen, but I'm not positive.  I think there may be one or two new songs for a second volume of Best Of.  I would love to sign them to Sanctuary, but they may want to stay with Warner Bros. I would love for them to tour again.  Nothing is definite and we'll just have to wait and see what lies ahead for Van Halen.

Thanks for your great work with Wang Chung--in my opinion the most underrated (proof: "To Live and Die in LA") band of the 80s. What are your thoughts on Wang Chung? Should they hang it up or keep plugging? I know Nick Feldman is an A&R guy, now, but wonder if you see hope in a new album?  Also, any thoughts on working with Roger Waters? What if he asked? Would you?

Wang Chung had their day and they were a really great band and very talented.  They were managed by David Massey who is now head of international A&R for Sony Music.  It's hard to say what the future should be for them, it would depend on the material. I liked Pink Floyd's music when he was in the band and I would be honored to work with him if he asked me.

Why do the Japanese releases, always have an extra song then the American releases? Like for instance, any artist release an album, but the American release have 8 songs and the Japanese have an extra song like 9.what’s the reason the Japanese paid more royalties or is a difference?. Because I think is unfair to paid for an import cd cost us more money than the domestic release. and they are American artists they grow up here became famous because of the American audience not of the Japanese audience?

The reason why Japanese releases generally contain bonus tracks is out of respect for the Japanese record companies - the extra songs given to them allows them a bit of an edge in order to stop their customers from buying imports, especially from the U.S., of the same CD.  Contrary to what everybody thinks, American CDs are the cheapest in the world and therefore they are still cheaper overseas, even with the freight and duty, so unless there is something extra, fans generally will try to buy the import copy.  The concept now has spread to America, to put something extra on CDs so people will not just download, but will actually go to the store to buy the product.  It's a matter of extra value for the consumer's money.

(updated Monday, December 29th, 2003)

John, thank you for your work on the Journey DVD -- a very generous helping of some wonderful music and images.  I'm curious whether the audio from the Houston performances is different from video to video.  For example, "Don't Stop Believin'" has no audible crowd noise or cheering in it that I can hear, but you do hear the crowd in the "Open Arms" video.  Were these always like that, even when the videos were originally shown in the 80s, or is this something you did specially for the DVD?

The audio from the Houston performance is different from video to video.  This is a great question and a very complex question.  A few of the live clips are not from the Houston show and therefore have different live and/or studio audio in them.  I'm working without seeing the DVD in front of me, so forgive me if I'm a little fuzzy about the exact songs, but the Houston shows clips feature the audio from Journey's Greatest Hits Live, mixed by Kevin Shirley as an audio CD and not as a DVD-video mix.  The future release of the Houston shows will be remixed in 5.1 audio by Steve Perry, me and a yet-to-be-determined expert 5.1 mixer.  The whole Journey show will be mixed as an entire live concert, matched to the edited film. By the way, there are no audio repairs in the audio track of the DVD out now, which is a testament to how great Steve Perry sings and how great Journey played when these recordings were made.

Thank you for taking the time to answer our questions.  And thank you for the Greatest Hits DVD!  I have been watching it as much as I can.  Will there be any possibility of a DVD with Steve Perry's videos?  I just think that would be awesome!

I don't think there's enough material for a solo Steve Perry DVD, but I will ask him if there's any additional footage or material that he would consider releasing in a DVD.

John, as an avid Journey fan, of course I bought the new DVD last Tuesday and was simply blown away. I love the sound on surround.  The question I have is on the discography. On the Trial by Fire there is an extra track after the bonus track "Baby I'm Leaving You".  Is this just a misprint or am I missing something? Thanks again for the "new" Journey stuff!!!

Thanks for the kind words on the DVD. I'm not really sure what you're asking, but I can tell you to the best of my knowledge, there is not extra track after the bonus track on Trial By Fire.  Please feel free to send clarification if this doesn't answer your question.

I wanted to share my thoughts with you on Journeys Greatest Hits DVD.  The picture and sound are fantastic. For many Journey fans its been a long time coming and well worth the wait. Thank you and Steve Perry for taking the time to put this DVD together. The legacy of Journey and what they brought to their fans will never fade away. I hope the sales of this DVD prove to be profitable so more DVD's will be released.

Thank you very much for sharing.  This is why I do what I do and it makes it all worth it to hear how much you enjoy it

(updated Tuesday, December 23rd, 2003)

You have a great website.  And I must say you must be long on patience.  I just spent the last few hours scanning through the correspondence (fan letters) you have for 2003 and archived.  To see the same questions and comments over and over asked about “certain issues” of groups and singers is something.  I will try not to use any of these individuals or groups names in this email.  I absolutely love music.  There is nothing like listening to a song that strikes your spirit in such a way that it changes your life in those moments.  A guitar or instrument solo can leave you in awe of the musicians talent but a song lyrics – that is where the power is.  (I realize this is over simplifying the whole song process, but the emphasis on the words is the point I am trying to make.)  My question to you is:  I can not write music, I never learned how.  But I have written a lot of songs lyrically.  I would love to learn about how to “hook up” with a composer/musician who I could see put music to the lyrics.  Then – the dream – to learn how to submit the songs to groups, management, or whomever that they would be given a look at and dare to dream be recorded.  Any assistance and wisdom you would provide is greatly appreciated.

This is a good question.  The type of "hook-up" you are referring to would be facilitated by a music publisher (large or small).  They are usually located in NYC, Nashville and Los Angeles.  If your lyrics had enough potential, a publisher could put you together with people who write music.  Then the music publisher is the one who places the songs with artists who record.  You might also post notices at local colleges, studios, clubs or rehearsal halls looking for people who need help with songs, or need a different take on lyrics.

I have written to you before and I received a very timely, personable response in regards to my questions about wanting to get into the industry. Thank you so much for taking a few minutes and replying to my questions. That meant a lot.

Before I begin, I am not pushing my product, I merely want your opinion on some aspects of the business.  I may possibly be one of the weirdest people ever when it comes to music (I guess I am a rock purist of sorts). I so desperately want to become a professional songwriter, but I would honestly say that I would write for people and receive no recognition nor compensation (well, maybe a little compensation) J. I do not want to be a part of  “the glitz and glamour” of the music industry. I want to write songs so that the industry will become dependant on good music again, and not on looks. I think so many artists today have no talent, but good looks, and I am tired of having to put up with companies shoving that down my throat. I hate MTV, and I wish that I could have experienced the era of rock when the only time you ever saw a band was if they were in a magazine, or if they were live and in person in my town.

Anyway, I feel like I have something to contribute to the greater good of music, and that is really my sole purpose in my interest in writing. I sent a songwriting demo in to Universal music group, and the guy who replied says that I have a lot of songwriting talent, but that my production value in my demos were mediocre. Mainly because all I do in them is play guitar and sing.

Anyway, I have spent a pretty good amount of money in getting some decent recording equipment, so now I am ready to re record my demos.

With all of that said, my question is:  In your experience, have you seen a writer be a big success in the industry, without being a prominent face (i.e. wanting to be in the spotlight, schmoozing with everyone, etc).

Most of the songwriters I know would not be recognized on the street and are generally fairly shy and don't make the scene, as you would say.  They focus on working on their songs to make them as good as they can be, working with other people who are talented, and especially perfecting their production technique for their demos.  The advent of digital home recording equipment is the greatest thing ever to happen to songwriters, and in fact, most musical artists, as they can make studio-quality recordings in their own homes if they study the equipment and practice what they're doing.  Songwriting demos should always have a good rhythm track, even if it's generated by computers and should have real guitar and other instruments that show the melody of the song.  But, of course, the most important element is the vocal, so I'm sure if you're not a good enough singer to show your material, you will know someone who is a good singer who can represent your song properly at your direction.  You should also submit your songs to EMI Music Publishing in both Los Angeles and New York, Sony Music Publishing both in LA and NYC, and Warner Music Publishing in Los Angeles.

First of all, thanks for having a great site that's loaded with tons of great info. It nice to know that someone with your credentials & experience is willing to answer questions and pass on tips. Thanks for your time.   

I've played guitar for almost 25 years, and I feel that I can handle about anything in the pop/rock/country/metal vein.

I've been working day jobs and playing on the side, but I am wanting to get more serious about pursuing & getting some guitar gigs (possibly even some touring). I recently auditioned for, and nearly landed a lead guitar slot with a well known country artist based here in Austin, Texas (where I also live), so I know I've got the chops to play on a pro level.

1) I said all of that to ask this: I'm a (70-80's) rock guitarist by nature, but I'm also able to navigate other styles effectively. When I promote myself, would you recommend that I actually sell myself as a 70's-80's type guitarist, or should I just stick to being a jack-of-all-trades type player? When is it smart to promote yourself as a specialized player?

2) Also, could you recommend some alternative career courses for a musician who wants to play and make some decent money, but not be on the road all of the time? (Living in Austin helps, since there's a happening music scene here, but whatever advice you could offer would be helpful).

Never stereotype yourself as a 70's-80's style guitarist - describe yourself as a versatile, all-around session player - which will open you up to more opportunities.  Many great session players never go on the road.  You should have a card made up to post and distribute with your name and number advertising as a session guitar player and/or guitar teacher. Post it in clubs and rehearsal halls.  One of the things a computer cannot mimic is a guitar player. As for your other interesting question about what else you could do, you could notice what is needed by studio people in the way of equipment or pedals or items to care for their instruments or even some computer software that is oriented towards guitar-playing. All of those would be worth pursuing if that's part of your interest. I know a guitar player in LA like yourself who was interested in tinkering with simple electronic .

In thinking about this, a good way to promote yourself in Austin is during South by Southwest in April.  You could give out some kind of item to bands and record executives and all the people who come to that conference (I think over 4,000 people attend); maybe a guitar pick or CD opener with your name and number and a title like "session guitar player".

(updated Monday, December 22nd, 2003)

Ill keep this short and simple. What are the chances of ever hearing something new from the DAMN YANKEES and do you feel there is room for them in today's music scene. Did they not record a third album? Why was it never released?  I am a big fan of the Yankees, Styx and just about anything that has to do with music from Tommy Shaw. Maybe a new solo album!!!!!

It's possible at some point there may be a new Damn Yankees album, and if so I would certainly sign them to Sanctuary.  There was a third Damn Yankees album recorded when I signed them to Portrait Records; I didn't feel the record was good enough and reflective of how great the band is to release it.  I consider it an A&R mistake on my part - these things do happen in an A&R person's career.  I probably will do a Jack Blades and Tommy Shaw record for Sanctuary this winter, which will be out in the early summer.

First and foremost, I would like to congratulate you and the Webmistress for taking the time to manage and allow us to interact with you on this very entertaining site. Making me feel like a kid again... Congrats again.  My thoughts are on the new position you recently acquired with Sanctuary Records and the possibility of you signing up my forever favorite band Journey (fan for the past 24 years), that are out of a record label presently. It is no secret that there is a lot of respect between you and the band members as well as ex-member Steve Perry.  Am I wrong to grin at the idea that this could be one of the main success story of year 2004 that you are looking into? And if so, would you push your powers to the extent of trying to re-include Mr. Perry in the equation? (Based on an article that quoted Neal Schon saying that if John Kalodner had his way during the Trial by Fire era, Steve Perry would have probably still been in the line-up today). Don't get me wrong, I love the Journey line-up as is and think the Arrival album was amazing and am one of the few, from what I can read, that see the opportunity to have two great sources of entertainment in the future i.e. Journey and Steve Perry solo even though my favorite musicians in Journey were the two Steves and Neal.

I would be the happiest person in the world if I could sign Journey with Steve Perry.  But it's up to Steve Perry.  As for signing Journey with Steve Augeri singing in 2004, even though Mr. Augeri is maybe one of the loveliest guys I know, and is certainly an adequate singer to represent Journey in a concert setting, I don't think I would sign that line-up to make new recordings with the information that I have.

I was wondering what your opinion of Shooting Star.  I think they are a very underrated band from the ‘80s.  They had some epic songs but always seemed to take a back seat to other bands.  Are you familiar with them and their music?

I signed them 24 years ago and it was so long ago that I don't really have an opinion at this point in time.  They were a nice bunch of guys and the albums they made were very good.

(updated Friday, December 19th, 2003)

I recently finished reading the book "Hit Men" by Fredric Dannen.  I found it quite fascinating, yet - part of me really wasn't all that surprised at what kind of corporate games go on in the high offices. (not to mention the Mafia) Unfortunately, however the book ends around 1990.  In regard to this theme, John, how do you see the Sony / BMG merger affecting the future of the already strong held music market?  Also with the frustratingly limited Clearchannel-monopolized airwaves, do you see similarities between Clearchannel and the 'Network'.  I'm happy to see the broadening of satellite commercial-free radio, but the other half of my question is, what can we do, from the DJ's down to the consumer to get our 'freedom' back to enable us to not only hear the best music undiscoverd, new music from the classic artists, but also to give the listener / consumer a wider variety of what is available?  I know it's a big bite of a question to answer and you seem to be a fair person to 'not bite the hand that feeds you' when it comes to answering questions like these, fairly.  It's a privilegde to have the connection to be able to ask someone inside the industry a question, that otherwise might go unanswered.  Thanks John.  Loved the Don Dokken / SHUT UP story.

I don't think the Sony/BMG merger has that much to do with limiting music choice - I still believe that any company will sign what they feel will sell.  I think people should support satellite radio - XM and Sirius - because they offer an alternative to Clear Channel and Viacom.  I also think consumers/listeners should write to Clear Channel and express their displeasure with the lack of variety and exposure to new music.  It also might have an effect if listeners wrote to the advertisers on these stations to let them know they don't want to listen anymore unless changes happen.

Your colorful career and diverse accomplishments are an inspiration to me. I greatly appreciate the time you take to answer questions and regularly update your website. I am very interested in knowing what you think about the current batch of prog-metal bands such as the now defunct At The Drive Inn, The Mars Volta, Sparta, AFI (A Fire Inside) and Forever is Never. Do you think these artists are currently making any kind of significant artistic contribution to modern music or are they simply over hyped art noise? Peace in Everything.

To be honest, I recognize these names but I don't know any songs associated with them.  There has been a lot of media/critical hype, but the songs haven't gotten much exposure.  Until the music is more important than the acclaim, these bands won't mean anything.

Hello John, first off I am a big fan of your taste in music and every CD I have ever purchased has your name in it... That's a good thing! What is your opinion on a new band signing with Frontiers do you think that it would be wise or to wait....

It just depends on the nature of the deal.  Any deal that is fair to musicians is a good deal.  Be sure you have a music attorney who is familiar with contracts review everything before you sign.

Are you and Leo related?  Inquiring minds want to know...

I'm not related to Leo, but I'm honored to be associated with him - he's been a superb musician for the last thirty years.  I think the real question should be - am I related to Rick Rubin?

updated Tuesday, November 18th, 2003)

I read with interest your comments about Def Leppard recently. I am musician based near their home town of Sheffield (uk) and wish them every success in the work they produce. Unfortunately though I just don't understand some of their actions and wondered what your thoughts were on the following.  Firstly, on the last two tours and also on the X promotion tour (a couple of gigs with current stars like Pink) they totally ignore their present album and concentrate on the classic tracks. air enough, people know them, but how do they expect to sell albums (new) when the record company and them themselves won't play tracks from a new album?? - they play 2 songs from X at the moment - what?  Would I be right in saying they have a choice - to fully believe in newer material or become a novelty act for fans to see every couple of years (like Journey are now in the states). Also would you or have ever mentioned to Joe Elliot or Jon Bon Jovi what a waste of talent they are losing by smoking. Both of these guys had great rock voice but now are not even a shadow of their former selves. In Jon Bon Jovi's case it is quite simply an embarrassment, as famous high vocal tracks are now either no longer played live or dropped drastically in key ("In These Arms" for instance) – a coincidence they have not had a big hit since "Always" and the start of his smoking!! (*note: he smoked way before then - check out the "She Don't Know Me" video from early 80s - US Version) - His excuse - He's getting older - may be he should listen to Perry, Hagar or Tyler and realize that he is one of the people who can't get away with smoking because of the effect on his voice- disrespect to his many fans (great songs still though!)- Your opinions??

Regarding Def Leppard, they play their live concert set because the people who pay to hear them want to hear those songs (their old hits) and that's the way I think it should be.  People pay to hear them play and the band should try to make them happy.

Regarding smoking, I'm totally against it and think it's the grossest thing anyone can do - musician or otherwise.  But, I really haven't seen a deterioration in either Joe Elliott or Jon Bon Jovi's voice when I've seen them in concert.  I haven't seen either Joe or Jon smoke very much, although any smoking is not good for you, if they do. Certainly artists who don't smoke have a easier time with their voice as they get older. I think not singing certain material is a function of aging, not smoking, as much as I'd like to blame it on cigarettes.  Steven Tyler is a very rare example of a singer who can sing just as well now as he did when he was 20 years old.  That's why he's the greatest.

Stumbled across your site via another link and really got a kick out of it!  Wondering if you ever had interest in working with Alice Cooper who along with Aerosmith has always been one of my favourite acts.  Best of luck with your new direction.

Yes, in the 80's I wanted to work with Alice Cooper when he was signed to Epic, because I really loved his music from the 70's.  He's the original shock rocker, but he always had totally great songs

I just heard that you are now working for Sanctuary Records Group.  And also I heard that white lion is coming back next year.  Do you have anything to do with this reunion? I wish you much luck with your new job!  Please help melodic rock come back to the top again!

I always liked White Lion, but I'm not sure that I'll work with them or most other bands from the 80's.  I would prefer to work with new rock bands to bring back melodic rock for the older audience and to entice/recruit the younger audience to like music other than hip-hop.

(updated Monday, November 17th, 2003)

I have been really enjoying Coverdale/Page (great rock CD!! Every song is a winner!) as well as the LIVE at the Greek album with Page and The Black Crowes.  The Page/Plant album Walking Into Clarksdale is fantastic, too.  Do you have any ideas for Jimmy this time around and/or who would you like to see him play with next?  A new Page/Plant studio album would be ideal.  The Black Crowes seem to be on a break now so, I would love to see a new studio album with Chris Robinson…possibly a Page/Robinson concept.  Maybe even a reunion album of Coverdale/Page II.  In any matter, I look forward to your new releases and hope too that Jimmy Page is amongst them rocking louder than ever!!

Anything Jimmy Page would do would be great.  It would be great if Chad Kroeger from Nickelback would do an album with Jimmy Page.  Or Noel and Liam Gallagher from Oasis with Jimmy - that would be cool!  Anything Jimmy Page would want to do, except for a reunion with P. Diddy, I would want to do.

I just want to ask you one quick question and I would really appreciate your response. Now that you are with Sanctuary and having a long friendship with David Coverdale  - would you sign him to Sanctuary?  With the upcoming Whitesnake album in the works with Coverdale, Doug Aldrich, Reb Beach, Marco Mendoza and Tommy Aldridge -  would this be of any interest to you (as well as Coverdale solo).  I honestly feel that Whitesnake is one of the very few 80's type bands that could actually make a huge comeback today. What do you think?   Thank you again and I wish you all the best at Sanctuary.

I want to sign Whitesnake with David Coverdale and John Sykes because I think Coverdale needs a really good guitar-playing writing partner.  Reb Beach is a great guitar player, but not the writing partner I would prefer for Coverdale.  Whitesnake was one of my favorite bands and I hope to work with them sometime again in the future.

Any chance of getting Kevin Cronin to make a new REO album?

Yes, there is a chance.  I'm discussing it with Kevin and it could happen in the next year or so.

(updated Wednesday, November 12th, 2003)

I love the work you have done with Cher's albums Heart Of Stone, Love Hurts and her self titled album from '87.  I heard that you are producing Cher's upcoming album and I have some questions about it:  What kind of style will the album have? (rock, pop...etc)  When about will it be released?  Thank you so much for your time, and good luck with your music projects;-)

First of all, I am A&Ring Cher's record, not producing it.  I will hire producers to work on it.  And to answer your question, the style will be pop-rock, similar to your favorite records. I'll have all the songs ready for the winter and hopefully Cher will want to record in the winter or spring for an album release next fall, but it's up to Cher and her schedule.

Having spent my late teen years jamming in garage bands in the 'hair metal' era, there are still a handful of those artists that I can still appreciate as classics. My question is: Many of those classic CDs (Tesla, Y&T, Whitesnake, Guns 'N Roses, Coverdale/Page, etc) I have been patiently waiting to see many of those Geffen classics, remastered. It seems that everything and everybody else has the benefit of superior sounding and repackaged material.  Of course there are others (White Lion) but it seems that around this time (1987) is when some of the first digitally recorded music was coming out... and lets face it, some sounded nasty. (look no further than the drum sound or lack of bass on the Whitesnake 87 CD)  But specifically, is it up to Geffen? Is it tied up in publishing and other business politics? I desperately want to buy Mechanical Resonance from Tesla on CD but the first thing I'll do is flip the CD over and look at the release date. Call me close minded but I refuse to buy any CD that has been issued (or reissued for that matter) before 1990. Sonically, I can tell the difference almost immediately. Do you have any input, John? HELP!

It's up to the labels whether they want to remaster past releases.   Most of the difference is in the transfer equipment used to make the digital master.  Most rock recordings of the 80's were not recorded digitally, and it is usually the transfer to CD that was not optimum.  When the labels want to listen to me, I help when I can, such as remastering Journey and Aerosmith for Columbia Records.  I would be glad to redo any rock record that any label asked me to do.

I'm pleased to hear that your now with Sanctuary Records. I was wondering what your ideas for KISS are now that both of you are on the same label. Do you think you can convince them that a new album is worth doing??? Or maybe releasing concerts from the bands career etc.? What are your ideas for KISS now that you can influence their releases????

I don't think anyone can influence KISS's releases at this point in their career, but I'll be happy to discuss it with Gene and Paul when they get done with their current tour.