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Joe Lynn Turner: Still Walking
The Street Of
Dreams
and Making A Big Noize
Dr. Music talks with a classic rock
legend
Joe Lynn Turner is a man that has fronted
two of the biggest bands in rock history (Rainbow / Deep Purple)
with a voice that epitomizes the genre. With lethal injections
of blues and soul,
he has made his extraordinary voice a staple on classic rock radio,
and in the hearts of millions of fans. After more than three
decades of lending his vocal touch to more than 100 records,
Joe Lynn Turner continues to be a prolific force in modern
music.
As I was preparing these questions I started to think
about the many facets of Joe Lynn Turner. Yes, we all know about his
classic days with Rainbow, but not too many
realize that Turner has also worked with the likes of Cher, Billy
Joel, Michael Bolton, Glenn Hughes, Yngwie J. Malmsteen, Lita Ford,
and a host of other enormous names in the industry. Besides
doing steady work in the field of commercial jingles,
Turner has been one of the most sought after session
vocalists of our time. So I asked myself, "Which direction do I go
with this thing?!" That's when I decided to take my chances and
wander about. The following interview, done via email, caught
Turner between trips to Russia and Turkey. This is a man that is
constantly moving, so when I finally had him I wasn't about to leave
any one stone unturned. I decided to ask a few questions in each
direction of Turner's career, with a focus upon work that may not be
familiar to even the biggest fan. The result of the session, as you
are about to read, is nothing short of
spectacular.
Dr. Music: You played Eric Fury in the Made-for-TV movie "Blue
DeVille," your first and only film role. What was
that experience like, and what is the biggest difference
between working in the film industry and working in
the music industry?
JLT: “It was a major life
changing experience. Film is a completely different medium and
I wanted to explore the chance to be in a movie. It was great
to go from being in several videos that were like mini-movies to
acting in an actual full-length film. The experience of things
being filmed out of context was interesting and demanded some
discipline. It was a great highlight in my career. I do feel acting
and singing are similar. You have to emote and connect with people
to be effective in either 'role.' As much fun as it was, it was
also scary being on film watching everything after it was
filmed and edited, etc.”
Dr. Music:
You've done other work in the film industry as a music
supervisor on the documentary film, "Canadian Ballet:
Striptease Dancers of the North." Tell me about that
experience.
JLT:
“Hey...I can't
lie...LOL. It was fun interviewing all the girls...LOL...Talk
about a perk! It was an interesting experience taking the music,
vocals and matching it to the girls' dancing...the beats per
minute...the grooves...it all had to be natural. They were not
dancing to our music but it looked like it in the final
result.”
Dr. Music: In an interview from February 1993, you're quoted as
saying, "I doubt that I would do a lot of covers, not even of
my earliest influences. I think that Michael Bolton has done
enough of that (laughs)." In the time since then, you have done
numerous covers from bands like Queen, Iron Maiden, AC/DC, Van
Halen, Metallica, Ozzy, etc. Why the change of heart?
JLT: “I changed my mind! It's that
simple! If you notice, though, the covers I did were not just
covers inside of a solo album. They were albums of ALL covers. As
for the guest slots I have done, those are mostly also on
all-covers albums. I was paid well to do these and had a lot of
fun at the same time. You can't beat that, right? ;-)
As
for the cover albums I did, the idea was to educate
the Japanese market with regard to the music that influenced
me. However, I want to emphasize that I have not done a cover
of someone else's 'hit' inside a solo record, where as many other
pop artists have.”
Dr. Music: It is because of your amazing voice that people know
you, but you are also a very good
guitar player. You recently did an instrumental piece called
"Alma D'Alma" with Stuart Smith of Heaven & Earth and Sweet
for a compilation album called "Sounds of Wood & Steel" How
did it feel to let your guitar playing take center stage instead of your voice? Are
instrumental pieces something you might want to do more of in the
future?
JLT: “I
absolutely loved it! We wanted to do another one but that plan
did not come to fruition, unfortunately. I still put that track on
and get goosebumps. I wish more people knew about
it.”
Dr. Music: Your connection with Russia has become something of
note. The Concert in Leningrad that you did with Yngwie J. Malmsteen
was the largest by a Western artist, and you recently did an
album called "Made In Moscow" with Michael Men Project. Tell me
about the musical climate in Russia.
JLT: “The Russians are
crazy-passionate for great classic rock. The deal with them is that
they do not kick out the old to make way for the new, like we often
do in America. They come out in thousands, are incredibly
riotous and thankful. Going there is like being in the height of my
career in the 80s.”
"Heaven Tonight" -
Yngwie J. Malmsteen
Dr. Music: Speaking of
Yngwie ....There are many horror stories that fly around about his
attitude and his difficult personality. You worked on the "Odyssey"
album with him at possibly one of the most difficult times in his
life, just after he was involved in a car accident that left him in
a coma. The album, produced by Jeff Glixman, is spectacular. What
was Yngwie like to work with, and would you consider doing
something else with him in the future?
JLT: “Thank you for your
kind words about the album and I agree that it was one of
Yngwie's best to date. He was a perfectionist and knew exactly what
he wanted. He was not as collaborative as Blackmore, which may be
the reason he has a reputation, but I enjoyed working with him
because he is also brilliant. I would absolutely consider working
with him again if the situation was right."
Dr. Music: One guy that you
just finished working with, Com Koksal, is a 31-year old
Turkish guitarist heavily inspired by Yngwie. What was that like,
and can we expect a CD release?
JLT: “I'll be in Turkey
from mid-April to mid-May and could give you a better
answer once we get a chance
to visit and talk. We have several dates lined up in Turkey. Cem is
amazing. I am not sure about a future CD release, but
collaborating with Cem is not out of the question. Thanks for
the 'shot in the arm.' Hopefully the record companies will take
notice and maybe we can put something together.”
Dr. Music: You have worked
with legendary names like Cher, Michael Bolton, Billy Joel,
Bonnie Tyler, Lita Ford, John Waite, Ritchie Blackmore, etc. etc. Is
there anyone that you haven't worked with that you would really
like to do something with?
JLT: “Sure...I would like
to work with some of the younger artists that are also great
songwriters and decent singers. Chad Kroeger and Chris Daughtry come
to mind. I would love to work with them.”
Nickelback's
Chad Kroeger
Daughtry's
Chris Daughtry
Dr. Music: You have done
commercial jingles for everything from Cover Girl, to Rescue
Heroes, to Little Caesar's Pizza. Do you enjoy this work, and do you
ever find it difficult to get inspired when you are singing
these? How much input do you usually have in the musical arrangement
of the jingles?
JLT:
“The way I see it... a good singer can emote on the phone book and
make it sound great. Singing jingles and these types of things is
actually a relief because your soul is not on the line the way it is
when you sing something you wrote, or chose to sing on an album or
in concert. The weight on your shoulders is not as heavy. I am
like a 'hired gun' when I do those jingles and how many singers can
actually say they can make a living off doing what they love? I love
to sing. Period."
Dr. Music: Out of the many different band projects that you have
become involved with over the course of your career, is there
any one band in particular that holds a special place in your
heart?
JLT: “All of
them for different reasons and that is the truth. But, I have to say
being with Rainbow at that time in my career, and at the age that I
was, made the biggest impact on my life so far. It was my first
real taste at international stardom and being able to connect with
people all over the world.”
Dr. Music: Is there any one
moment in your career that you would call the most memorable?
JLT: “There are too many to
name but one that is significant is playing Madison Square
Garden with Rainbow. It was like a 'homecoming' for me...like a
'local guy goes big time' thing. I had gone to shows at The
Garden as a teenager and young musician, and there I was,
now, playing before a packed audience there myself. Talk about
life coming full circle.”
"Death Alley Driver" -
Rainbow
"Stone Cold" - Rainbow
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Now let's talk about your
experiences with Ritchie (Blackmore).....
Dr.
Music: Your first record with Rainbow was "Difficult To Cure,"
an album in which the band had already recorded with Graham
Bonnet on vocals. Was it difficult to come into Rainbow and
sing over backings that were already done?
JLT: “Apparently not,
because that's how I got the job. I needed the gig so I did what I
had to do. I did inject and sing some of my lyrics from what Ritchie
used to call my 'magic bag' of lyrics. I also contributed some
melodies and all of that. Ability to sing, write, (and) collaborate
got me the job. It was my inventiveness on the
spot...willingness also to be a team player and sing parts of
songs off the cuff.”
Dr. Music: Is it true that the title of "Straight Between the
Eyes" was derived from Jeff Beck describing Hendrix to
Ritchie?
JLT:
“Yes, that's true.”
Dr. Music: Is it fair to
say that being fired from Deep Purple was the most difficult
time in your career?
JLT: “They said they fired
me...I say I quit. That's now a moot point. Yes, it was a
difficult part of my career. There was a lot of jealousy and
envy, and some of the guys were very territorial; but I now look
back at it as a great learning experience. We're friendly now...no
hard feelings.”
Dr. Music:
"The Cattle Grazes On" is how you have referred to the Deep
Purple album "The Battle Rages On," which was the album that
Purple released just after you were asked to leave the band.
Have you ever listened to the album, and if so, do you hear anything
from that album that you had worked on before being
fired?
JLT: “LOL. Of
course I hear it! I do not think it's great, or even a good
record, compared to the potential DP has always had. You may already
know this but 'One Man's Meat' is 'Stroke of Midnight' on my latest
album,'Second Hand Life.' Blackmore actually gave me his blessing to
do this song the way it was meant to be done, and so I feel I did
justice to it as 'Stroke of Midnight.' It's a GREAT definitive
Blackmore riff!”
Dr. Music: Obviously your
relationship with Ritchie is still on solid ground, having recently
reworked "Street Of Dreams" with Candice Night for the Blackmore's
Night album, "The Village Lanterne." Have you settled your
differences with anyone else from the Deep Purple camp?
JLT: “We've buried the
hatchet. It's smiles and hugs when we see each other. They seem
happy and are where they want to be, and so am I. It's like an
ex-wife that you have a healthy relationship with...LOL...you CAN be
friends after the breakup
;-)”
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Street Of Dreams -
Rainbow
Dr. Music: What is the best work you've ever done? If I had
someone who had never heard any of your work, and they had time to
listen to only one song, what would you recommend I play for
them?
JLT: “I don't think I
can be described in one song, fortunately, or defined in one song. I
consider all my albums and songs like children. I cannot pick out
one that I feel is better or best.”
Dr. Music: After doing so
many different styles in your career, it seems that nothing is
out of your reach. If the offer to do something totally different,
like a conventional Soul/R&B or Country record came up, is that
something you would consider?
JLT: “Absolutely! I am
working on some tracks now in that vein; it's just not something we
are publicizing heavily at the moment. We will wait until the time
is right. As for Country and Soul/R&B, I started singing that
style growing up so it's not at all a far reach for me. I love
it!”
Dr. Music: I
highly doubt there is a performer that stays busier than you
do. You are constantly doing voice-overs and studio work, and
you are frequently involved with a number of different band
projects. Your latest band venture comes by way of Big Noize; a
project that includes Vinny Appice on drums, Phil Soussan on
bass, and Carlos Cavazo on guitar. Tell me what your plans are for
this band. Will you write original music together and tour in
support of an album? Do you ever see yourself devoting your
time to one single band project again, like you did with, say,
Fandango or Rainbow?
JLT: “As for Big Noize,
right now we want to get the name out there, get established. There
has been some talk of doing a CD of songs from our past...maybe even
a live disc ….and then we may explore the option of doing some
originals. Big Noize is a blast; a great time; great project.
As for your other question, I feel that the time has not been right,
yet, but I cannot rule it out. Ya gotta fall in love first
before ya get married ....that 'girl' (the right band) has not come
along yet...LOL!”
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This interview was something very special to me. Joe Lynn Turner has
been a voice inside my head ever since I was a kid. From the early
days of Fandango to his most recent work, he has always been a voice
that defined classic rock for me. For him to take his valuable time
to sit down and thoroughly answer my questions ever so eloquently is
just a dream come true. I would like to send Joe the biggest, most
extra special thanks. You really made this kid's dreams come true.
Thank you.
I would also like to thank Joe's virtual assistant, Lisa
Eichholzer-Walker, for arranging things and getting it all to
happen. Her immense dedication to her work (and her
ability to juggle all of it better than a circus clown) is the
reason this interview took place. Thank
you.
"Endlessly" - Joe Lynn
Turner
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