Bobby Messano: The ClassicRockHistory.com Interview

An Interview with Bobby Messano, previously of Stanky Brown & Starz

For a lot of, guitarist Bobby Messano entered the main rock zeitgeist because the substitute for Brendan Harkin in Starz. However dial again to earlier within the ’70s, Messano’s story begins with a near-signing to Sire Data, a short respite as a postman, and a major run as Stanky Brown’s axe-slinger, earlier than destiny discovered him auditioning for Starz in 1977, a gig which he secured.

Along with his blues-inspired licks and multi-layered strategy, Messano supplied a succesful six-string praise to guide guitarist Richie Ranno on the group’s uber-underrated basic Coliseum Rock (1978). Messano’s impression was rapid, having lent his licks and chops to cuts reminiscent of “So Younger, So Unhealthy, “Take Me,” and “No Regrets,” and the tour that adopted was a factor of glam rock splendor.

Unfairly ignored and accomplished soiled by Capitol Data and Aucoin Administration, Starz got here screeching to a halt in 1980, discovering Messano on the transfer once more. Ultimately, the New Jersey native discovered himself within the studio with Peter Criss and firm, lending his skills to the ex-KISS drummer’s Let Me Rock You (1982) earlier than rounding out the last decade with the likes of Joe Lynn Turner, Lou Gramm, and Clarence Clemons.

Uninterested in the trials of the AOR way of life, in 1989, Messano made a life-changing and career-altering option to reconnect together with his roots as a bluesman for his first solo effort, Messano (1989). Within the 33 years since, whereas it hasn’t at all times been straightforward, Messano has cultivated his ardour, and regardless of small financial returns, Messano is as inventive and busy as ever.

Stony-faced and nonetheless resolute amongst the shifting tides of an ever-changing scene, Bobby Messano not too long ago settled in with ClassicRockHistory.com for a far-reaching interview.

Inform me about your latest launch, Music and Different Sundries.

My producer Geoff Wilbourn and I made a acutely aware determination to do a venture. He normally forces me to file, and he did so right here once more. There was no explicit style, simply no matter I needed to write down, which was lots just like the ’70s for me. So, I simply began writing, and issues took off from there. I normally have some type of refrain in thoughts and work off of that, and I normally write the complete album in a couple of days. However I need to say with reference to doing issues that approach: don’t do that at dwelling, children. [Laughs]. However I hate writing, so it was the one approach it was going to work. Having mentioned that, what occurred was truly fabulous.

What does your course of appear to be today when it comes to track development?

I’ve at all times acquired tons of concepts musically, however I’ve to be pressured to show them into songs. All my songs are based mostly on real-life, normally a relationship gone awry or the world on fireplace, and I normally begin with a title. Boy was I ready. [Laughs]. I stayed in California with my pal Jeff and wrote virtually all of it there. My long-time bud, Dennis Harrold, who has co-written lots with me, simply killed it on some lyrics.

How did the manufacturing and miscellaneous nuts and bolts shake out?

We had a tremendous crew and reduce it in two days at my favourite studio, the Sound Emporium. We combined it in two days and mastered it in a day. The duvet was accomplished by Steve Whitsitt, who’s my favourite photographer. We tracked it analog, then Professional Instruments, after which it took six months to get 200 180-gram data. Nevertheless it’s my first album on vinyl in virtually 30 years, so it was value it. How’s that for a narrative? [Laughs].

That is your fifth launch since 2019. What’s led to the sudden bout of productiveness?

Effectively, two had been re-reissues: Holding Floor from 2004 and Messano from 1989. And Lemonade got here out in 2018. I like that album too, but it surely was alleged to be an artist I used to be co-producing with, Joe Michaels, at Dockside in Louisiana. We came upon two days earlier than that she wasn’t displaying up, so I wrote the entire thing in 24 hours in lodge rooms. Nothing like strain. [Laughs]. However the strain labored for me – as at all times – because it’s one of many favorites that I’ve ever accomplished.

So, that’s these, and The Songs I By no means Sang was one which I did at dwelling out of boredom throughout my yr at dwelling by way of COVID-19. I very not often do cowl songs, so I put collectively a bunch I beloved, and it got here out nice. I didn’t wish to do it alone, so I despatched it out for musicians to play remotely: Kinny Landrum performed keys, Mel Watts – who was in Little River Band – performed drums, and my pal from highschool, Joe Escobar, did all of the horn components. I did all of the vocals, backgrounds, bass, electrical and acoustic guitars, and mandolin. I suppose it wasn’t so unhealthy; I made it into the primary spherical of the Grammys. Not too unhealthy, however I suppose not so good as Billie Eilish. She and Finnias did it within the kitchen, however they’d $900,000. I had $400. [Laughs].

What evokes you most as a songwriter?

Life. Isn’t that what artists are supposed to attract their strengths from? I don’t write bullshit pappy songs; I’m rock ‘n’ roll ’til I die. I’ve acquired these no Jack Daniels blues. As for rap and all that different stuff – it’s all bullshit. I write about love, life, dying, and being Broke. You wanna know why? As a result of that shit is actual. It’s a protracted story – I received’t inform it – however I wrote a track referred to as “Sea Of Hope,” and I acquired an e mail from a man in Europe who mentioned my phrases saved his life. That’s what I’m talkin’ about. You may’t do higher than that. I’m at all times amazed and honored to have written some phrases on a serviette for that end result.

What’s modified for you essentially the most since your 1989 debit, Messano?

I believe it’s simply that I’m getting older and extra mature. I beloved enjoying large enviornment rock; it’s the best factor. However I made a decision to return to one thing that felt nearer to my musical soul. In 1990, I began enjoying up to date blues once more, however after I was enjoying it as a child, it was Led Zeppelin, Cream, Jeff Beck, Jimi Hendrix, and Ten Years After – all blues-inspired rock. It now had a style hooked up to it – it didn’t then -which was form of bizarre. I didn’t wish to shelve my Marshalls; I simply needed to play that music once more. I additionally didn’t wish to be in my 60s sporting spandex and coloring my hair, which I nonetheless have… whew. What I do now nonetheless pertains to the Messano album, there have been hints of bluesy stuff, however that is extra realness to it. I do nonetheless have humor about the entire writing, although I’ve too many songs to recollect. [Laughs].

Going again, inform me about your days with Stanky Brown. How did you get the gig?

I used to be working for the USPS, and I hated it. However my dad was the postmaster, and it was a job, you recognize? I used to be enjoying reveals late at evening, too. So, pulling double responsibility. Effectively, someway, I acquired fired… I had been sick lots, and my physician was truly in a position to get me on unemployment due to my stress. I used to be taking anti-depressants as a result of it was sporting on me, and life was typically not nice.

So, after I was on unemployment – for a month – I made a decision to gamble on being a musician. It was robust, my of us had been center class, and it’s so fu*king troublesome. The nice factor is that I knew numerous newspaper and music writers, and so they dug down and came upon who was searching for a gitbox participant, and a few had been fairly large. And Sire Data had tried to signal me round 1974-75 as a solo artist, however I used to be a child, scared, and it by no means went down. However Craig Leon instructed John Scher – a giant promoter/supervisor – about me, and so they referred to as. So, I realized every thing, auditioned, and voila – I’m in a band on Sire/ABC Data, Stanky Brown.

Stanky Brown notably toured with Boston, Allman Brothers, and The Outlaws. What are your best recollections of Tom Scholz, Dicky Betts, and Henry Paul?

The actually cool factor, at first, there was the primary week I used to be with Stanky Brown, and we had been opening for Kansas. The blokes in that band had been simply so good to me. They made me really feel like I used to be alleged to be there. I’ve been mates with a lot of the Allman guys, their crew, and their children for years. I didn’t have a lot to do with Dicky. I at all times thought he was a terrific participant, however I cried for per week when Duane [Allman] died, although I didn’t know him. The Outlaws had been all nice. I’m nonetheless mates with Don Barnes and Freddie Salem. Henry was simply absurdly good, and I’d run into him after I lived in Nashville as a result of he was in Blackhawk.

Now, Tom Scholtz. That’s a cool factor. Stanky Brown opened for them at Rutgers the evening earlier than they performed MSG for the primary time. Brad [Delp] and I frolicked all day, and he and I turned mates and virtually put a band collectively within the ’80s with Joey Kramer; once more, everybody was good. They watched our soundcheck, and after, Tom came visiting to me and mentioned, “Wow, man, you actually play nice!” As you possibly can think about, I freaked out. Then Tom goes, “Hey, do you wish to see my rig?” I simply stood there pondering, “Oh, my God…” [Laughs]. So, Tom brings me up, and there’s Scholz-land: Rockman, Energy Soak, like all that gear, man. It was wonderful. I’m so fortunate to have had that chance.

How did you first meet Richie Ranno earlier than becoming a member of Starz in 1977?

Wealthy and I knew one another as a result of we each lived in Bergen County, NJ. It was a cool factor again in these days. Phoebe Snow, JT [Taylor] from Kool & The Gang, Al Dimeola, me, and Wealthy. There have been some nice musicians, so simply due to our proximity, we ended up understanding one another.

Stroll me by way of your audition. What songs did you play, and the way had been you supplied the gig?

I actually wasn’t alleged to be there. Wealthy had referred to as me and requested me if I knew any bass gamers as a result of Pete [Sweval] was gone. We arrange an audition with my pal Rob Giordano and Wealthy says, “Hey, are available with him and convey a guitar.” I mentioned, “Positive,” so I went to Brit Row – which was Pink Floyd’s warehouse – in Queens, NY, for the audition. All the blokes had been there, and we simply plugged in and performed. To be trustworthy, I actually don’t bear in mind enjoying any Starz songs; we had been jamming on concepts and stuff, and so they had been checking Rob’s bass enjoying out.

So, it was enjoyable, and so they mentioned, “Cool, thanks. We’ll let you recognize.” I’m fairly positive Wealthy referred to as me later within the day and mentioned, “Hey, we’ve acquired Orville Davis from Hydra and Rex coming in tomorrow. Do you wish to come again and jam?” I mentioned, “Positive.” As a result of Stanky wasn’t on the street for some motive, I had enjoyable jamming, so I figured, “Why not?” And Starz was a lot more durable rock than Stanky Brown and far nearer to the place I used to be after I was rising up doing rock and blues. So, I went again the subsequent day, Orville killed it, and so they checked out me and mentioned, “Hey, you’re becoming a member of Starz, and you haven’t any alternative.” I mentioned to them, “I’m in a band, and we’re touring,” and so they mentioned, “We don’t care. We’re doing a brand new album, and we’re in a greater place.” They weren’t incorrect, and so I went for it. So, a giant battle occurred between John Scher and Invoice Aucoin. It was ugly and infantile, however I used to be set free of my contract with Stanky Brown.

Coliseum Rock stays an underrated basic. What recollections do you might have of the periods?

Too many. It may very well be a guide all by itself. [Laughs]. It was an thrilling time for me. Dwelling the summer season in Toronto close to Younger and Bloor, working with Jack Richardson, man, it was unbelievable. Starz was proper on the cusp, although Consideration Consumers wasn’t an enormous success, and it was a terrific expertise for me as a younger guitarist. I had already accomplished the Stanky Brown file with Charles Fisher, who ended up being a serious Australian producer with Silversun Pickups, and now, right here I’m with Jack, who had accomplished Guess Who and Alice Cooper.

Additionally, I’m a tech head, so for me, I might write notes each time I used to be within the studio with a brand new producer or engineer. And I can guarantee you that I did numerous that through the Coliseum Rock periods. The opposite new growth for me was that groupies and bandaids had been coming to the studio each day. I wasn’t used to that. We had been alleged to play a softball recreation with Boston once they had been recording in Toronto, however we canned the sport and simply went to the present. I acquired to see my pal Brad and everybody. It was a terrific expertise.

Michael Lee Smith and Richie Ranno had been the primary songwriters for Starz. In what tangible approach did you have an effect on the periods?

I had been writing for years with my unique band in NJ. Therefore the rationale Sire needed to signal me. And I had my first reduce on the Stanky Brown album. I beloved funk, so it was a funk-pop track referred to as “Probability On Love.” I wrote it with Jerry Cordasco, the drummer, Jeff Leynor, the lead singer, and Ken Shane. Jeff handed a couple of years again, however my God was he a tremendous singer and author. I simply tried to acclimate myself to the way in which Mike and Wealthy had been writing. It was a really cool, poppy, exhausting rock with fascinating lyrics. Michael Lee Smith was a terrific lyricist, very humorous, and really tongue-in-cheek. Having mentioned all of that, I did find yourself co-writing a track referred to as “No Regrets” on Coliseum Rock.

Within the stay setting, what was the interaction with Richie like?

It was easy with the 2 of us. We performed in another way, and it labored out nice. I’m on the checklist of “Greatest Rock Guitarists of The Submit Masters Period” – which I hadn’t heard of that till a couple of years in the past – however I like enjoying rhythm as a lot as lead. I got here from a special place than Wealthy, extra of a funk, Blues, and singer-songwriter land. Richie Ranno is a really cool riffing participant that depends on a second guitarist, so for him, he has the liberty. However I got here out of three-piece bands, so I performed much more chords than fills. It labored fabulous for us. We had been a double guitar staff to be reckoned with within the late ’70s.

Richie is among the most underrated gamers in rock historical past. Give us a couple of phrases on him as a participant and Starz as a band.

Man, Wealthy has at all times been a terrific participant. I believe he’d agree that he’s extra of a rock and acoustic participant and is nice at each. He finds nice traces and riffs in every thing he performs on. That’s at all times been his energy as a guitarist, plus he’s a superb author. As for Star, for me, being in that band was a tremendous expertise. We performed arenas each evening, and although I did Giants Stadium earlier than I joined the band, it was intense doing so many enormous enviornment reveals. Starz acquired me prepped for the Steve Winwood and Lou Gramm headline excursions. It was a rare time for me.

What’s the funniest/scariest story out of your time with Starz?

We had been nonetheless on the Weekend Warriors Tour on the finish of ’78, however we had a New Yr’s Eve date with J. Geils in Windfall, RI. This was simply earlier than we might rejoin Ted [Nugent] on New Yr’s Day at  Nassau Coliseum in NY. I used to be very sick, working a fever, and my girlfriend Debbie had made the journey on the tour bus with us. I simply was not feeling properly once we went onstage; it was actually unhealthy.

So, throughout one of many songs – and bear in mind, I’m a bit shaky – somebody within the first row put a hand up for a hand slap. There’s this trick most performers know the place you slap the hand with one or two fingers, not your complete hand as a result of somebody can seize your hand and pull you into the viewers. These had been the times earlier than stage diving. [Laughs]. Effectively, somebody slapped my two fingers, and another person grabbed my hand and wrist, and I tumbled over; Gibson Explorer, cable, and all into the viewers.

My first thought was, “Holy. Fu*okay. How am I gonna get out of right here?” Critically, these guys had dying grips on me, and the one which grabbed my fingers cut up a silver pinky ring that dug into my pinky, and blood began pouring out – Joyful New Yr! [Laughs]. So, what ended up taking place was our two guitar techs jumped in, beat the blokes down, grabbed me, and pulled me again onstage, which left me lined in blood. Generally this isn’t enjoyable. The following evening at Nassau, I used to be nonetheless sick and acquired hit within the head with an empty bottle of Jack… and this was a crowd that loved us. [Laughs].

To your recollection, how did issues finish for Starz?

There are numerous conflicting tales about that. I’ve a terrific reminiscence, so I’ll simply say it was on a DC-10 flying from L.A. to NJ in February of 1980 after we performed the Starwood for 5 days straight. We had already accomplished a bunch of writing for the follow-up to Coliseum Rock. I used to be confused about it and didn’t need it to finish, however shit typically occurs if you’re in a band, man.

Submit Starz, you labored with Peter Criss in a session capability. How did you meet Peter?

Effectively, I knew Peter from the Aucoin days, not properly, however we’d say “Hello,” and chit-chat a bit. I additionally knew Ace [Frehley] and Gene [Simmons]. And Paul [Stanley] and I knew one another from the Coventry days in Queens, NY, after I was in Pooka, and so they had been in Depraved Lester.

You got here in for the Let Me Rock You periods. What had been your impressions of Peter at that juncture?

I nonetheless didn’t actually know Peter properly. I knew his spouse Lydia [Criss], however I used to be introduced into the NYC aspect of Let Me Rock You by Vinnie Poncia and Bob Schaper, his engineer. I met them on the final Tycoon album for Arista, and so they began hiring me for plenty of session work. The album was bi-coastal between L.A. and NY. It was an actual who’s who of gifted gamers.

How important had been your contributions to Let Me Rock You?

I believe my contributions had been important. I performed some solos and heaps of rhythm guitars. The good factor was that I sang background vocals on virtually each track with Vini, Eric Troyer, and Rory Dodd. Holy shit, man, what an expertise. Right here had been the very best singers on this planet, letting me sing with them. It was like doo-wop avenue nook singing. I not too long ago listened again to Let Me Rock You, and I teared up as a result of I’m pleased with my work on it. I have a look at that album now, and holy cow, have a look at the individuals on it: Steve Stevens, Caleb Quaye, Mike Braun, my pal Phil Grande, Mike Landau, and James Newton Howard. Fu*kin’ wow.

You labored with Joe Lynn Turner for Rescue You. Give me the rundown.

Effectively, Joe Lynn Turner and I grew up collectively in Bergen County, NJ. We had been in bands enjoying the golf equipment. I used to be in Stanky Brown when Joe was in Fandango, after which I joined Starz. I used to be with him the evening earlier than his Rainbow audition, seeing our buds within the band Associates. We stayed in contact with one another by way of the years, and when he was on the brink of do his first solo album, he referred to as me up and mentioned, “Hey, do you wish to do it?” And I mentioned, “Oh, in fact.”

Joe was utilizing our buddy Chuck Burgi on drums, probably the greatest drummers on the planet. We had all been mates for years, and Chuck was truly later in Rainbow. However what was unbelievable for me was that Al Greenwood from Foreigner was enjoying keys and writing. And Roy Thomas Baker, who had produced Queen, was on the helm. All I can say is, wow, what a venture. I performed bass and guitar and did 90% of the background vocals on it. To at the present time, Rescue You is considered one of my all-time favorites that I’ve performed on. I assumed it was groundbreaking. Some thought it ought to have been heavier, however I disagree. It’s excellent as it’s.

Earlier than going solo, you toured with Lou Gramm. How did you get the gig?

I actually needed the Lou Gramm gig. I used to be enjoying with Martee Lebow, who was a tremendous singer on Atlantic Data, and on the similar time, Colin Hay and Daryl Corridor had launched solo albums and had been going to tour. I acquired the Colin Hay tour and handed on it. Daryl needed Paul Pesco, I believe, however neither did a solo tour. I used to be not comfortable about auditioning at that time – feeling my non-existent oats. [Laughs].

So, they requested me to audition after a rehearsal I used to be doing with Martee. I went in and performed and sang every thing properly, I assumed. After which, I went dwelling to Bearsville, NY, the place I used to be residing. I acquired a name on the weekend from the street supervisor, Steve Nider, who mentioned, “You need to come again on Monday and do one other one.” Effectively, I used to be at one other rehearsal with Martee on the similar studio, however I wasn’t comfortable, so I went again Upstate and performed once more.

So, after the second session, at 3 am, my telephone rang, and I heard, “Hey, Bobby, take heed to this…” and a bunch of drunk individuals, together with Lou Gramm, screamed, “CONGRATULATIONS!” I mentioned, “Wow, how cool. However why 3 am?”… “We got here to inform you on the Martee rehearsal, however you had been gone, so we went and had sushi and saki…”… “Uh…okay…”… “You need to be in NYC together with your gear at 9 am. We’ve got a stay TV feed to Japan at 5 am the day after tomorrow.” I used to be excited, however in my head, I used to be like, “Uh, assist…” [Laughs].

Whereas your early profession is outlined by rock, you’ve carved out a distinct segment as a blues participant. The place do you’re feeling the blues stands at the moment as a style?

As Joe Lynn Turner mentioned, “You wish to go broke? Be a solo artist. You wish to go actually broke? Be a blues artist.” I’ve had numerous success as a up to date blues artist. It’s been implausible. My God was a No.1 album on the Billboard Blues Chart, and I did that at age 61. I’m continuously touring, doing festivals, have received awards, and did my first solo EU tour. I’ve launched seven blues solo data and have gotten 38 Grammy first rounds nominations. It’s all wonderful however nonetheless a teeny, tiny style. It’s all small venues, small cash, and small every thing. It’s a far cry from the Stevie Ray Vaughan and Eric Clapton mega excursions.

The reality is that almost all blues artists are ravenous, and so they work day jobs. That’s a tricky one for a full-time professional musician. We’re dropping like flies, however fortunately, I’m making respectable royalties. I’m producing extra and doing extra solo acoustic excursions as a result of it’s extra profitable. So far as the style, properly, it’s unhappy, the blues persons are getting older, and the institution tends to show its again on older artists. They’d quite go for the most recent guitar style icon or an 8-year-old shredder. That’s not what the style is about. I went again to enjoying what I performed at dwelling as a child. For a very long time, I performed blues cowl songs, and as I grew older and had main life experiences, I lastly become a blues artist, not only a blues-influenced guitar participant. I’ve seen 1000’s of them in my years; the place are they now?

What’s subsequent for you, Bobby?

Effectively, I appear to seek out myself inside a style that caters to younger artists. Part of me is afraid of it turning to shit as a result of the powers that be are too busy catering to the life experiences of 15-year-olds. Sure, some have had torturous issues occur, however the majority play pretend blues guitar, and so they sing pretend blues lyrics. That’s not the style I went again to. I imply, I’ve been requested to open for 15-year-old taste of the month varieties for a similar rattling cash I made in highschool. What the fu*okay is that? Sorry, man, however no thanks. Have some respect, you recognize? And it’s not simply me; that’s taking place to numerous us out right here. However for my soul, there’s nothing on this planet like enjoying a Chicago or Texas shuffle. It strikes me to my core. So, I suppose I’ll simply maintain being Bobby Messano, or as a fan as soon as mentioned, “Dude! You’re Bobby ‘Fu*king’ Messano!” Yeah… I suppose I’m. [Laughs].

Bobby Messano: The ClassicRockHistory.com Interview article printed on Basic RockHistory.com© 2022

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