Print - Interview - Vivian - Metal Rules - 26Jun2019

[CindyJ]

Guitarist Vivian Campbell discusses working with Def Leppard, Last in Line, Dio and more
June 26, 2019 Marko Syrjala

VIVIAN CAMPBELL
INTERVIEW AND LIVE PHOTOS BY MARKO SYRJALA

Vivian Campbell is a Northern Irish guitarist, who came to rock prominence in the early 1980s as a member of Dio, with whom he recorded the classic albums, HOLY DIVER, THE LAST IN LINE, and SACRED HEART. After leaving the band in 1985, Campbell worked with Whitesnake, Riverdogs, and Shadow Kings before joining the UK hard rock legends Def Leppard in 1992. In 2012, Campbell united forces with his former Dio bandmates Vinny Appice, and Jimmy Bain, and formed Last in Line. The current line-up is completed by vocalist Andrew Freeman, and bassist Phil Soussan, who replaced deceased Bain in late 2016. The group has released studio albums: HEAVY CROWN (2016), and “II” (2019). Currently Campbell is on tour with Def Leppard, and I had the honor to meet the man at Sweden Rock, just before the band’s headlining show, and discuss Campbell’s past with Dio, Last in Line, and the current state of Def Leppard.


THE STATE OF DEF LEPPARD

Welcome to the Sweden Rock, once again!

Thank you very much! I know we’ve been here before. I was just trying to figure out how many times?

I think this is your third time here?

Third. That would seem about right.

So, what’s going on with Def Leppard? You haven’t released any new albums for a while, but you have been touring a lot. In fact, you’ve done extensive tours recently!

Yeah. That’s Def Leppard. We don’t make records that often. The last one came out at the end of 2015. I know that a few new song ideas are going around, so I would suspect something new will come next year. I don’t know if it’ll be an album, maybe just a track or three or four. I think it’s definitely about time. But, yeah, we’ve been really busy touring, and the touring aspect of what we do has just been so successful and thus very time consuming for the last few years. I’d say that last year in North America, we did our biggest ever tour, certainly in the 27 years that I’ve been with Def Leppard. I mean, we were playing stadiums with Journey, and I very happy to say that– I watch the audience a lot. I always do. I always have. So, by watching the audience in North America last year, I think 40% of them are young enough to be our children. We’ve crossed this generational divide, and we’re no longer playing to people who are our age, we’re playing to our children. That’s a great feeling because it’s a whole different energy that comes into the show. It’s more exuberant, and we really feed off the audience. We need that energy. Otherwise, we’re just playing “Pour Some Sugar on Me” again for the millionth time. When an audience is excited about the song, then we play it better, so that’s good, and we hope that keeps growing. As I mentioned, we played some stadium shows last year, and I do feel that the bigger the show, the more Def Leppard brings to it. I think everything about Def Leppard’s music– it’s bombastic. It’s big.

It would say that, after seeing the band a couple of times, it’s the whole package what makes the Def Leppard show.

It’s a whole package. I think, the bigger the venue, the more room we have to grow into it. I felt that when we were on stage playing stadiums with Journey last year, it felt really natural for this band to be there. We could do clubs, and we’ve done clubs for promotional purposes, but it’s a very different thing. I think Def Leppard feels a little awkward in a club, but out on these big stages, it feels a lot more at home.

LAST IN LINE

But, as an opposite, you have the other band, Last in Line, which is mostly playing very different shows. Tonight, you’re playing in a big stadium with Leppard, and tomorrow doing a club show with Last in Line. It must be very different from this?

It’s very different. They’re two very different bands, and they exercise different muscles for me. Def Leppard, our vocals are live. A lot of people think that we mike, because we do it very well, which is a nice compliment. So that’s a real challenge for us to be able to sing at that level and play your instrument and be part of the show. Everything about the Def Leppard show, as the saying goes in England; “All the T’s are crossed, all the I’s are dotted.” It’s a very well-rehearsed, very slick show, with a lot of production, a lot of lights and video and bombast to it. When I go on stage with Last in Line, and we play tiny little venues that we have no lights, no video, no pyro, no production. I always say our production of black T-shirts is all we have – four guys in black t-shirts. Musically it’s a very different thing. I don’t sing in Last in Line, I could, but I don’t want to because I want the focus to be just about getting back to my roots as a guitar player where I started with Sweet Savage and with Dio, which is a very aggressive kind of guitar playing. It’s a very different thing. I’m the only guitar player in Last in Line. In fact, we don’t even have a keyboard player at the moment, so I’m the only melodic instrument. I have to cover a lot and it really challenges me as a guitar player.

I think that doing these things…I do this, Phil does Delta Deep, Joe has done a nice band, Rick goes off and does his art. We step out of the shadow of Def Leppard, and we all go away and do these other things and when we come back, we have more energy for Def Leppard; we’re refreshed. As a guitar player, I think I’m playing better than I’ve ever played in my life. I think that is partially, in fact, probably mostly because of the Last in Line for the last seven or eight years, which is really good because when I started doing Last in Line, and on our first album, HEAVY CROWN which came out in early 2016, the guitar playing was okay. I feel okay with it, certain songs I liked more than others, but with the album, we just put out the album “II” that came out in February of this year, I’m 100% happy with every aspect of my guitar playing on that record. When we play live with Last in Line, I really feel I’m at the top of my game, and when I come back to Def Leppard, I’m not playing guitar parts that are as challenging perhaps, but I still try and play them to the best of my ability. I still try to make tiny little nuanced improvements, which I think I’m probably the only one that really will notice them, but it matters to me as a guitar player that I keep moving forward.

So in a way, playing with Last in Line kind of feeds you as a guitarist?

It does feed me, and it certainly keeps me alive. I mean, being in both of these bands is an incredible privilege, but they are two entirely different things for me. Def Leppard is not spontaneous; we do not jam. We read the setlist, and we play those songs night after night. With Last in Line, we change things as we go, sometimes even during a song, like Vinny Appice. Vinny is a very spontaneous drummer; he’ll go off and start doing something and then Phil and I, we go, “Okay”. We follow him, and sometimes it works great, and other times it’s a bit of a train wreck, it’s real entertainment. I mean, it’s real life music. I think our audience appreciates it, but as I said, it is a totally different thing, and I’m most fortunate to get to do both.

CHANGES IN THE BAND

In January of 2016, you former Dio colleague, and Last in Line founding member Jimmy Bain sadly died while you were doing the “Hysteria on the High Seas” cruise in the Caribbean. How difficult a process was it dealing with Jimmy’s passing, your friend of over three decades, and continue the band after his passing?

Yeah, that really pulled the rug out from under us because we’d worked really hard to do the HEAVY CROWN album, and Jimmy passed away a month before it was released. I didn’t expect that we would continue. We had a tour booked, which we canceled obviously. About a month or so after the record came out, it had been really, really, really well received and gotten good reviews and people were positive about it. We felt that we owed it to Jimmy and his memory, as well as to ourselves because, we’d all worked really hard to get to that point, to continue. We played with a few different bass players, some of which were pretty well known, and it just didn’t feel right and then when Phil Soussan came in and started playing, it felt like it was absolutely the right person to carry on Jimmy’s legacy and to help the band carry on. Furthermore, Phil is English. Jimmy was Scottish, so the balance of the band is two Americans and two Europeans like the original Dio band, and Last in Line before Jimmy died. I like the humor, the sensibility that comes with that. We’re not American, we’re not European, we’re somewhere in between.

Back in the day, you both played in the same venues with different bands all the time?

Yes, yeah. The fact that Phil Soussan played with Ozzy when we were with Ronnie– we come from the same era of music and that’s worked really, really well. Phil has really pushed us. He’s not the same kind of bass player that Jimmy was. Jimmy was a very fundamental bass player. He had excellent timing, huge tone. Jimmy really kind of anchored things. He really always played big notes. Phil is much more like Geezer Butler and Black Sabbath. He finds a part to play– “There’s this piece– I’m going to put a musical part in it.” So, I think he’s pushed us musically, and I think that the II album is more ambitious than HEAVY CROWN was. As a result of that, as well as a result of the fact that we’ve had two or three years with Phil doing multiple live shows, we’ve really found our feet as a band, and it’s been good. It’s a great thing, and I’m excited that we’re doing Download next week with both Last in Line and Def Leppard. I wish we could do more festivals with both bands, but the logistics and the economics were too difficult, so I’ll take what I can get.

THE DIO LEGACY

You’re doing these great shows with Def Leppard and Last in Line, but at the same time, there is also a tour out there titled “Dio Returns,” which is led by Dio Disciples. What is your opinion about that tour, and the hologram thing?

I don’t really have an opinion about it. I mean, I’m not a big fan of holograms, but I can understand. There’s an awful lot of people out there who appreciate Dio albums who never got to see Ronnie play live so for them, this is as close as they can get. Alternatively, there’s Vinny and me, which is a very different thing, and I think that what the Dio Disciples are doing with the hologram, and what Vinny and I are doing with Last in Line are approaching a similar thing, maybe, from different angles. I think it’s all good for the music of Dio and the legacy of the Dio band, so I think it’s beneficial. What they do is of benefit to us and Last in Line, and what we do is of benefit to them. So, it’s all part of keeping that music alive. Although with Last in Line, we’re also progressing. We’ve got two albums, so our show used to be a lot of Dio songs and not so many Last in Line songs. In recent weeks now, it’s kind of a little bit more Last in Line music, yet we still are always going to play some legacy music of Vinny’s heritage and my heritage because the band is called Last in Line after all. That’s where we come from, and that was the genesis of the group.

After all these years, how has your attitude and interest changed towards the old stuff, the Dio years. I remember that at one point you said that you had zero interest to play that stuff ever again, but things have, fortunately, changed later on?

To understand that clearly, you need to understand the history. Not many people really know the history. Over the past 30-something years, what happened between Dio and me was not always faithfully reported. There was a certain spin that was put on it that wasn’t quite truthful. I didn’t leave the band. I got fired from Dio. I didn’t want to leave the group. I was very invested in it after three albums and three tours. I was fired during the SACRED HEART tour. People say it was about money. Yes, it was about money, but more than that it was about the principle. I am a man of my word. When I make a promise to someone, I keep my promise. Ronnie had promised Vinny and Jimmy and me that by the third album, if we were willing to work for next to no money, which we did we got paid less than the road crew when we were playing shows like this like big festivals, big arenas selling out, selling T-shirts and merchandise. We got none of that. We got none of the record sales. We were earning less than people on our road crews – and we were happy to do that because we believed that we were working to a goal that Ronnie had promised us by the third album. So, SACRED HEART was the third album. I was the squeaky wheel; there’s a way to say, “The squeaky wheel gets the grease.” Well, I didn’t get the grease. I got fired [laughter]. I was the one who brought it to Ronnie’s attention, and he kept saying, “We’ll talk about it later. We’ll finish the album.” So, I say, “Okay. I’ll come back.” We finish the album. We go on tour.

I said, “Ronnie, can we talk about this?” “Well, wait until Wendy comes out. We’ll talk about it once we get to tour.” And then eventually I get fired. After the first leg of the American tour, we come to Europe. We were supposed to start in England, and I go back to my parent’s home in Ireland and I get a FedEx envelope. I open it up and it’s a contract that says that I need to sign it and I’ll get a little bit more money — still less than the road crew, but a few hundred dollars more. If I don’t sign the contract and return it in 48 hours then consider that I quit the band. I tried to call Ronnie and got no reply. I leave messages, and he never calls back. The next thing I knew was that Craig Goldy is playing guitar in Dio. It left a very, very bad taste in my mouth because not only had I been lied to and cheated, I also then for years after was portrayed in the press that I was the one that turned my back on the band. But that’s really not true! Back then you didn’t have Twitter and social media; the only way for me to defend myself and get my side of the story out would be to hire a publicist, which I couldn’t afford to do. So, this was said all over on the press: “He left. He turned his back on the band.” I’m reading this and thinking, “That’s actually not true.” So, I just walked away from the whole thing. I wanted nothing to do with Dio. If it came on the radio, I’d turn it off. I didn’t own the records. I didn’t want to talk about it. I got on with my life. I ended up playing with Whitesnake and with Riverdogs, and so on.

Around that time Ronnie released the single “Stars,” and you played a solo on it. Was that the last thing you did with Dio at the time?

No, because when we did “Stars,” we were still recording SACRED HEART, it was in the middle of the recording session. Once we did “Stars,” we went back to finishing the album. For many, many, many years, I wanted nothing to do with it. I disowned that because I had been pushed away from it. And then I think certain things happened, number one is just the passage of a lot of time. Number two, Ronnie’s passing, I think. The fact that Ronnie was gone and the Dio band didn’t exist anymore, and I was able to look at that music and that body of work differently, I realized for the first time that it wasn’t just Ronnie’s music. It was mine. It was Jimmy’s. It was Vinny’s. We all contributed to that and that it had been taken from me. That legacy was taken away from me. So, I had a completely different mindset. I was like, “ **Censored** this. I’m going to embrace that. That’s mine as much as it was Ronnie’s. And now I don’t have to battle with the Dio camp, because Ronnie is not there anymore”. And it was also other things happened for me as a guitar player around that time. I had just finished a tour with Thin Lizzy and being on stage with Brian Downey and Scott Gorham playing “Black Rose” and getting to “be” Gary Moore playing “Don’t Believe a Word” was just unbelievable! It was amazing. So that to me– in that I kind of rediscovered the fire as a guitar player. And I thought, “I should do this more. This is who I am.” It brought me right back to being 17 again, being in Sweet Savage, and wanting to play aggressive rock music.

So, it was after that tour; Ronnie had passed away about a year prior to that. All these things that sort of happened. I called Vinny. I called Jimmy and we went into the rehearsal room, Vinny and Jimmy and myself and at that point. It had been 27 years since we played together. I don’t know what we played first. “Holy Diver”, I think? As soon as we started playing, it was just like– it was like it had been only 27 minutes we had played together because the chemistry of the original band playing together was just immediate. We all got so excited, and one thing led to another and Vinny said, “I know this guy, Andrew Freeman. He lives close by and can come in and sing.” So, we got Andrew. And when Andrew started singing, that’s when I thought, “We’ve got the sound of Jimmy and Vinny and I. It sounds like the “Holy Diver” album, but Andy doesn’t sing like Ronnie. He’s powerful. He can sing on top of this, but he is still very different.” I thought, “This is interesting, this juxtaposition. Let’s just go and do some shows.” We had no ambition other than to just go to play for fun around the L.A. area. I was the one who suggested, “Let’s call it Last in Line.” I’m thinking that’s clever because had Ronnie passed away. Jimmy and Vinny and I were the last in line, it’s the second album we did with Ronnie.

Had I known that we were going to grow into this original music band, I don’t think I would have called it Last in Line because there is certain baggage that comes with that. It’s a double-edged sword, right? I think we are entitled to call the band Last in Line and go out and play those songs because we wrote those songs with Ronnie. We made those records, but at the same time, it does make it more difficult for us to be taken seriously perhaps, as an original band. But as I said, that was never what we were thinking of. Now every time the Last in Line is on stage, we’re going to play certain songs from the Dio catalog, like the big hits. We will play “Holy Diver”, and “Rainbow in the Dark”, “We Rock”, “Last in Line.” We’re in this great position of being able to build our soul on that with all this original music. And I think the original Last in Line music fits next to the Dio songs rather well. It’s cut from the same cloth. So, it’s a great little band. I mean, it’s a great way of fun to play, and it really keeps me sharp as a guitar player.

HOLY DIVER AND MORE

There’s been a lot of bad mouthing and press between Last in Line and Dio Disciples members during the past few years. Was all of that necessary to do and say out loud?

No, it never is.

So, do you think that someday you could burn the hatchet, and work something together, to respect Ronnie’s memory? Because both bands have members who had their own important part on the band’s history, and with Ronnie?

I don’t know. I mean, Ronnie is dead, and Ronnie’s legacy is controlled by Wendy Dio. It was Wendy Dio that convinced Ronnie that the original band didn’t matter. Ronnie knew better. That’s kind of where my problem with Ronnie was because I know that he knew how good the original Dio band was, and he allowed himself to be coerced by his estranged wife, who is his manager. She never saw the value in Dio, the band. She always just thought it was about Ronnie, and it didn’t matter who played drums or guitar or bass. I tend to think differently, and I know that Ronnie thought differently. There’s a certain magic when you get the right musicians and the right band together and especially when it’s a creative unit like we were. When we went into Sound City, to these studios in 1982 to do the HOLY DIVER album, we had one song, it was “Holy Diver.” Ronnie had written “Holy Diver,” and he had half an idea for this song called “Don’t Talk to Strangers,” but he had nothing else, so we wrote the rest of that record with him. A lot of those songs are formally Sweet Savage songs that got rewritten, all riffs are mine, and Ronnie would say, “Well, boys, that Sweet Savage song, how does that go?” “Rainbow in the Dark” was an old Sweet Savage Song, “Lady Marion.”

It was the same on the LAST IN LINE album. We went into a rehearsal room and Jimmy would have a riff, I’d have a riff, or Vinny just play a beat, and we’d come up with something. We created it as a band, and that’s what made those records so **Censored** good. We were a great band. We had that hair tingly chemistry, it was just so **Censored** tight. And the fact that Ronnie allowed himself to be talked to by somebody who knows nothing about music, **Censored** nothing, and she just said, “Well, Ozzy Osbourne, he gets whoever to play for him.” You know what? Ozzy had a great guitar player in Randy Rhoads. He’s been very fortunate. He has a lot of really great players around him, but that’s a different kind of a thing. Ronnie knew how good the original band was, and yet he allowed it to be torn apart because of his ex-wife. That really hurt me and that is, as I said, he had promised us…now, in fairness to Wendy, she was not in the room the first night that we played together in London. There was just four of us, Ronnie and Jimmy and Vinny and myself, and that’s when Ronnie made us that promise. So, I suspect that Ronnie never told Wendy, he never had the balls to stand up to her because she can be a very aggressive person and Ronnie, I think never could say to her after the fact, “I made those guys a promise, they are in this with me together”. I don’t think he ever told her that and she never saw it that way. She was like, “Just get rid of these guys. We can get the guy from Rough Cutt to play guitar. We can get Simon Wright to play better than Vinny.” Nobody plays like Vinny Appice. Vinny Appice is the most inspiring rock drummer I have ever played with, and I’ve played with a **Censored** lot of them. He makes me a better guitar player. It’s things like that that made the original Dio band so **Censored** good. When I go on stage with Vinny Appice, I am 10% a better guitar player than I am with anyone else because he lifts me, he inspires me to play, and that’s part of the magic of the original Dio band. Jimmy being just **Censored** playing the big notes, he knew exactly where to lay the foundation, and Ronnie of course, Ronnie was on top of it. There was just something very special about that band, and Ronnie knew it, and that was a problem I had with him that he allowed himself to walk away from that.

The whole thing what happened between you and the Dio’s, it’s not a new story, but it still sounds horrible. It was so unfair towards you and the other guys in the original band. It’s just terrible, and it’s hard to understand why someone behaves the way they did.

Money changes people. When something becomes very successful very quickly a lot of money flows in, and people in all sorts of situations will allow themselves to see things in a slightly different way as long as it keeps the money flowing, and that’s what happened to me. The Dio band, not us, but Ronnie and Wendy. They made millions and millions and millions of dollars in a very short space of time because of the success of the band. That’s fine, I don’t begrudge them that at all, but he made a promise to us that he didn’t keep. That’s what it was about. I don’t care about money. I care about the principles, and I always did. So that was my beef with Ronnie. Then, of course, I will accept responsibility for years later I said some very unfortunate and very unnecessary things about Ronnie in the press, and Ronnie said plenty of unnecessary and unfortunate and untrue things about me. It worked both ways, but we were both wrong to try and communicate in the social arena. We should have sat down and talked to each other. Knowing Ronnie the way I did, I feel that if I had bumped into him on the street, he would have been angry at first because that’s the kind of person he was. He would hold on to that anger, but then after ten minutes, when he was done ranting, he would have said, “Let’s go have a beer.” We would have gone and sat and had a beer, and we would have made another record together.

JOINING DIO, AND LATER ON, DEF LEPPARD

When you were asked to join the band, you were really young. How well did you know Ronnie’s and the other guys’ past? How familiar you were with Rainbow, Black Sabbath and stuff like that?

I was a fan. I had RAINBOW RISING and LONG LIVE ROCK N’ ROLL. I didn’t have MOB RULES but I had HEAVEN AND HELL. In fact, I was listening to HEAVEN AND HELL intensely the night I got the call. I’d been listening to it for weeks and then the phone rings. It was Jimmy Bain, at 2 o’clock in the morning. So that was quite a coincidence. So yeah, I was a big, big fan of Ronnie Dio which is also part of why it was weird because when I fly to London, I meet Ronnie Dio, and I’m like, “Whoa”. I met Vinny Appice, and I met Jimmy Bain,” I was in awe of all of them. Then a couple of weeks later I’m in Los Angeles and we’re in the studio writing songs. I never felt like I belonged there. I always felt like there was this barrier between those guys and me because they were rock stars. I’d been listening to all of them and reading about them in magazines for years. I just kept thinking, “Why am I here? I don’t **Censored** belong here. I’m playing guitar in Sweet Savage in Belfast”. So, it was always an awkward relationship, and I accept responsibility for that because it’s all in my head. They were very open to me. They didn’t necessarily treat me any different but I was very uncomfortable around them for a while.

In 1992, you joined Def Leppard permanently. If you think carefully, what was the most significant difference between joining Leppard compared to the early days when you joined Dio as your first big band?

It was very different because Def Leppard guys are my peers, we were a similar age. I would say that with Ronnie, it was a bit like being in a band with a stepdad because he was that much older than me at the time. He was old enough to be my father. He had that sort of a reverence that meant he was very proud of me. He treated me like he was a parental person, taking care of me. He didn’t let people **Censored** with me. He was very proud. He liked taking me to the Rainbow in L.A. “This is my new guitar player Viv Campbell.” He was very proud of what I was doing and so it was an awkward kind of relationship. We didn’t talk easily. Whereas with Leppard, we grew up together influenced by the same television, the same radio, the same music at the same time. We have so much more in common than just the music, like football. We have a sense of community, and by the time I joined Def Leppard, I had toured the world with Dio, done three albums, I’d been around the world twice with Whitesnake. I’d done Riverdogs. I’d achieved certain things in my career. I felt very comfortable coming into Def Leppard as a professional guitar player, as a seasoned guitar player, they knew that. Joe was a good friend of mine, and he knew me personally. It was the other guys I didn’t know, and we needed to see if we could get along together. It was a very different thing. I approached it from a more mature and more confident place than with Dio, to go from being a nobody in Belfast, being in Los Angeles with those guys.

You were really young when you did that then. It must have been amazing at the time.

Well, it’s all the youthful exuberance. When you’re that young, you don’t think that much about it, you just **Censored** do it [laughs], which is maybe a good thing.

MORE ABOUT THIN LIZZY, AND THE NEXT DEF LEPPARD ALBUM?

We discussed earlier your brief stint with Thin Lizzy. I remember seeing you perform with the band at the Hammersmith Odeon, and it was a phenomenal show. If I remember right, there was talk back then, that you had plans to do some more work with them, but it never happened?

It was a lot of fun, yeah. I really, really, really enjoyed my time with Lizzy. It was always going to be a temporary thing. They needed someone who could commit more, so they got Richard Fortus at first, and then he couldn’t commit because of G’N’R, and they got Damon Johnson, and that lasted for a few years. It really really was– it was one of my career highlights when I look back, and I think of all the things I’ve done. To just be on stage with Brian and Scott and play those songs and it really was also like I said it was a turning point for my career. It was that rediscovery. A light bulb went off, and I thought, “Even though I’m not going to be in Thin Lizzy anymore, I need to play more aggressive rock guitar”, and that’s what leads me to call Vinny and Jimmy. It leads to the Last in Line. All these things, they all happened for reasons.

To be honest, I would love to hear some of that aggressive rock guitar stuff on future Def Leppard albums as well. Is it something which is totally out of the question?

Well, Leppard is a different thing. Do you want to keep that type of playing separated from the Leppard stuff? Yeah. Well, it has to be. You can’t necessarily think of Def Leppard as being a strict hard rock band anymore. A lot of people wish that we would make another record like HIGH ‘N’ DRY, but that was a different era, and the band was in a different place. Leppard through the years has grown musically, and in terms of ambition, it’s no longer just a strict rock band. I don’t know, I mean, everyone in Def Leppard listens to different music and has stronger influences and different strengths of music. That’s part of what makes it such a unique band. When we go in to write music, there’s a lot of different elements on it. Rick Savage has always said for many, many years, way before everything, “Def Leppard has always been about AC/DC meets Queen”, because we have the hard rock sensibility but also on a music level and vocal ambition of band like Queen to look beyond hard rock. So that’s where we’re at, and we’re never going to go back and do HIGH ‘N’ DRY II. That’s not going to happen. We can still play that , but in terms of new records maybe we’ll do one song on an album that’s really straight up hard rock but it’ll never be a whole album.

That’s all by now, Vivian. Thank you, and good luck with the show.

Thank you.

Source

[Jefflep]

With regards to nee music : You’re a thief Viv... a thief of dreams 😥 🤣Just do something cool, with some balls, and some passion. It doesn’t have to be HnD Pt 2