Q: How about musically? Were you guys seeing eye-to-eye on the sound of the band at this point?
A: “Well, this is kind of a weird situation too. In the press release they said there were “creative differences.” But to have creative differences, you have to have two entities or more offering up creative ideas. And that just wasn’t the case. Queensrÿche has always been my idea, starting from the first record. Queensrÿche is about albums. It’s about concepts and themes, and those concepts were mine. [Laughs] I started out with The Warning, bringing those ideas in for Rage For Order, Operation: Mindcrime… all the albums. I write 81% of the music and the lyrics. Of the 144 songs that Queensrÿche has released, I’ve written 116 of those. I am the creative energy in the band, especially since Chris left. When he was in the band it was more of a shared thing between him and I. But once he left, the burden was on me. I don’t consider it necessarily a burden. That’s what I do. I’m a creative person. I write everyday and I’m constantly coming up with creative ideas. I present them to the other guys and they go, “Yeah, sure, that sounds good to us.”
This guy is so full of himself, it’s not even funny. It is undeniable that Geoff Tate has written some great songs. It also seems apparent from recent developments that the band just wanted to get back to playing progressive metal again. And what is wrong with that? And the video footage of Tate spitting on Rockenfield live in concert? Disgusting. Geoff will one day have to apologize to his old bandmates, mark my words.
Also, Geoff says:
For it to end in such a hostile way, it’s just mind-boggling.
I called it weeks ago and now the split is official:
Geoff Tate is OUT of Queensryche.
He has been replaced by Crimson Glory/Rising West singer Todd La Torre.
After the now-infamous “knife incident” news, this really comes as no surprise. The only consolation to fans is that Rising West (which is now actually Queensryche considering the membership is now identical) played exclusively material from the first 5 QR records. Hopefully this means a return to the metal, and an end to stuff like Tribe….
Todd LaTorre reports that he is in both Queensryche AND Crimson Glory, as both prepare material for new albums! He also states: “Queensryche enters a new chapter; buckle up.”
Time to wrap up my four-part Eddie Jackson interview from 2001!
This has been the complete, unedited text of our 1-hour conversation. This has never been seen by anybody before. In case you missed the three previous parts:
EDDIE JACKSON INTERVIEW, OCT 30 2001 (Unedited – Part 4)
Q – [NOTE: We had just finished talking about the recording of the Promised Land album.] Now the next album, Here In The Now Frontier, was different. In the liner notes to the new live album, it’s pretty much just skipped over completely. And only one track appears. Were you disappointed in that album at all?
E – No. That’s interesting that you bring that up, because we were working on a couple of the other songs, but I don’t know why there was only one song recorded for the Live Evolution. That’s just interesting you bring that up because I kind of noticed that. I go, “God, there’s only one song from that album, I wonder how that happened?”
Q – I guess it’s the same problem you talked about before, where you can’t fit in everything you ever played.
E – Again, I think we were really focusing on a lot of the older stuff. Throughout our touring, these last few years and whatnot, we kept hearing a lot of “Hey, are you guys playing anything off The Warning or anything off Rage For Order, or anything off the EP?” So right then, that kinda sparked the idea of, “Hey, let’s go back. Let’s really give ‘em something that they’re gonna really enjoy. Who knows if we’ll ever get this opportunity again? Why not just give ‘em a variety, a potpouri of Queensryche material from the beginning to the present, you know.
Q – Listening to the live album, and trying to pick out influences, I think I hear a bit of Steve Harris and Geezer Butler. Were those guys influences on you or am I just hearing things?
E – Since the beginning?
Q – Just bits here and there.
E – I’m sure, especially from the earlier days, there were some major influences from Geezer Butler, Steve Harris, a little bit of Geddy Lee. If there’s times that it sounds like that then you’re probably right. At that given moment, I’m sure I was influenced. We were all influenced by what was out at that time. Especially with the EP, and The Warning. When you’re listening, like I was saying before, you’re relearning the songs. And then when you start hearing the instruments, you go, “Wow, doesn’t that sound like that one band back then?” I don’t you’re really aware of it up until a few years later when you listen back you know!
Q – Is there anybody out there right now who just frightens you on the bass?
E – Oh heck, there’s tons of them! I take more of a simplistic approach, but that’s just my style. I love funk, I really like a really hard driving sound. I tend to focus more on the sonic end of it than the performance end. I’m really into experimenting with sound. As you can tell, actually on the Mindcrime album, I’ve had guys come up to me, and they go, “Hey, how did you get your bass to sound like a truck?” I go, “What? Where’d that come from?” you know? So obviously there’s a little bit of fretless in Promised Land, and Real World, there’s some fretless on there. So heck, you know, some 5 string here, some whatever, here or there. I’ll experiment with anything. I think I really love approaching the sonic end of it, trying to come with a really cool sound, something that’s very distinctive.
There’s a lot of bands out there with a lot of talented bass players that I’m just listening to this thing and go, “How the hell did he get that sound? That is so cool! What is he running? Some sort of an effect? I wonder what he’s using!” You’re just reaching and guessing, it’s a lot of fun though, hearing a lot of these bass players. I tell you, you learn a lot just from listening and I was really a big, big Grand Funk and especially Alice Cooper fan. I mean, [Dennis] Dunaway [Alice Cooper] back then, that guy was an amazing bass player. And then, what’s his name? Sure? Sher? From Grand Funk? Heck, I forgot his name…Mel Schacher. Yeah, he was an amazing bass player. I kind of enjoyed a lot of their bass work back then. You don’t really hear it in my style, I just liked hearing it. The performance, you know.
Q – I know when you put on the Promised Land video game, there’s some definite funk influences there. Funky backgrounds and colours too! Do see yourself for that aforementioned solo project doing some funk, big horn sections and stuff?
E – Oh yeah yeah! That was just a little piece I wrote for that Promised Land CD-ROM game. Yeah, that was kinda fun. And if you noticed, I’m using a different coloured tie on each musician. Each instrument that I’m playing. I dunno, that’s not a big deal but it was to me. You know I go hey, I wanna put a different tie, I wonder if anybody will catch it. But yeah, that was a lot of fun. I tell ya, you’re almost kinda acting your parts out, especially when I was the secretary at the front desk there. It was kinda weird, putting all that makeup, and dressed in drag.
Q – I guess it’s a chance to lighten up because Queensryche are not the kind of band that is really known for joking around.
E – Yeah, I mean, some levity here and there, it doesn’t hurt.
Q – Running out of time here, I’d better start wrapping up! I wanted to ask you if there’s any questions out there that you’ve been waiting to get, but nobody’s asked it yet.
E – Oh geez! That is a great question! Oh geez! You got me on the spot here! This is cool!
Ummm…oh geez. That’s good. I don’t know, you got me here! I just don’t know what to think here! I mean, what question? Oh geez…how about uh…this might be little cliché, or a little simplistic, but how about “How is my son doing?”
Q – And how is he doing?
E – He’s doing wonderful.
Q – How old is he?
E – He’s eight months. Other than that, I can’t think of anything else. Do you have anything you want to ask?
Q – I don’t know…now I’m on the spot here! How about…what can I say…do you remember playing Toronto in ‘95 at Molson Amphitheater?
E – Yeah.
Q – I was there at that show, I thought it was a great show.
E – That was with AC/DC.
Q – Type O Negative.
E – Type O Negative, you’re right! The Molson Amphitheater or Labbatt’s? Yeah, that was back in, yeah with Type O Negative.
Q – Was that the last night of the tour?
E – Yep.
Q – I seem to remember you guys messing around, like a big roadie with a wig playing the part of the nurse during that one song…can’t remember the song.
E – Yeah yeah, well that was our crew, kind of putting in the finishing touches of the last show of the tour. And with the brawl, the bar brawl, yeah, normally that really didn’t happen except for that night. It was the last show of the tour and they wanted to screw with ya.
Q – One of those examples of Queensryche’s sense of humour.
E – Yeah, you know, and I’m sure it throws the audience for a loop, because they just like, “Is this part of their show?” You can just look at their incredulous looks you know. I can just imagine what’s crossing their minds, like, “Wait a sec, what’s that guy with that wig doing onstage?” Oh, get this! We had that same production through that whole tour, with the bar scene, and the lounge band. We were in Dallas, and every night there’s guests that can win seats to sit in, on stage, during the Promised Land song, and that’s when the bar comes out, and we’re the lounge band. The winners would go up onstage with us and stuff. And there were these two girls, and they had to have been peelers! During that song, they started to like, make out! It almost took away my whole emphasis of performing. I’m just looking at this, and looking at Michael, and next thing you know they’re on the floor just like, rubbing each other body to body and I go “Oh my God! Here I am and I’ve got some cousins and aunts and nieces here!” And I go “Oh my God, what the hell are they going to say after the show!” It was just nuts! That was very entertaining that night! They were just…yeah, they were going for it! I’m surprised we didn’t get arrested.
I have to give Geoff Tate credit for a good answer to a tough question. Regarding “knife incident” and the rumoured Queensryche split, Geoff said, “I’m thinking, I’m not gonna really dispel too many of the rumors because it’s hardly ever that Queensrÿche gets any publicity, so this is great. All 43 people on the Internet are talking about it.”
That’s a great answer. He also says the band plan to tour in 2013.
With all this drama (hopefully) behind them, I’ll take you to Part 2 of my October 2001 chat with bassist Eddie Jackson. This is the unedited transcript, never before seen anywhere by anybody.
EDDIE JACKSON INTERVIEW, OCT 30 2001 (Unedited) Part 2
Q – Now the album packaging [Live Evolution] is pretty cool here, but what the heck does that say under your picture?
E – My credits? It’s backwards! All the letters, the words are backwards! They’re spelled backwards! The words are spelled in reverse. So let’s say you come up with the word “happy”. I start with the letter Y first, and then a P and then a P and then an A and then an H. You know, heck, gotta be a little goofy every once in a while! What I original wanted to do was to have it printed out so if you put it up to a mirror, then you would be able to read it correctly. But I didn’t think about that until after.
Q – Next album right?
E – You’re like the second or third person who asked me about that. [One guy said] “What is that, Spanish?” No, it’s not! I think you’d know if it was Spanish or not. You know, heck, just going a little goofy. Some creativity there.
Q – Are you “cyber-savvy” at all? Are you into the internet and stuff like that?
E – A little bit, you know.
Q – Do you see the internet as a way to reach new fans?
E – Oh, absolutely!
Q – Are you doing that? Are you noticing that?
E – I think so. Especially with our fan club. A lot of that is, instead of sending mailers out, we just send ‘em e-mailers. Not only is that a cost effective approach, but it’s a lot more efficient, I think you can do a lot more than just a letter or a flier. I think it’s done wonders. Obviously it’s been the wave of the future for a few years and I think it’s a great tool.
Q – You’ve got bands like Marillion who pre-sold their album online before even a note was recorded It’s just amazing how the dedicated fans will seek you out.
E – Oh absolutely, yeah yeah! Well again, we’ve been very fortunate to have this type of fan base. They’ve allowed us to evolve and grow as a band. And they’ve evolved and grown as individuals as listeners, as fans. What more can you ask for? [They’ve] given us the freedom to create and I think that’s great, and also by being able to communicate with them through our music and also through cyberspace. It’s great!
Q – Let’s go back to LIVEcrime for a minute. You’ve got more than one new release coming out, LIVEcrime is being reissued on DVD and album.
E – I don’t know if it’s on DVD though.
Q – OK, I’ll have to check. [Note: It is coming this month]
E – I was only told it was going to be the live CD, but you may be right.
Q – Now, the live CD is going to have some bonus tracks on it. Are these the same versions as on Live Evolution or are they with the original lineup?
E – Those are with the original lineup. Those two songs, “Road To Madness” and “Lady Wore Black”, those were recorded at the time LIVEcrime was recorded.
Q – From the same gig?
E – From the same gig. I mean, we recorded the whole show! But we were mainly focusing on LIVEcrime. Yeah, I mean, there were a few other songs through that whole set that we performed. Yeah, we recorded the whole show, but we just figured, OK. A lot of that was pretty much EMI’s idea. And so it was kinda interesting to hear about EMI releasing this. And here we are, just doing the groundwork on Live Evolution, and we’re just thinking, “Wait a second!” You know, are they going to conflict with one another? But I don’t think it has, I think it’s great because for the collector and for the hardcore fan out there, even though most of that LIVEcrime is the same as that released before, with the exception of those two extra tracks, that’s what makes it interesting. But yeah, that was pretty much our very first live recording. With the exception of The Warning tour. You know, that had the live video.
Q – Which is also pretty much impossible to find. If you ever talk to EMI about getting something reissued…
E – Yeah, good luck finding that one! But then again, that was only released on video, that was never released as a live audio. And then Live Evolution was our very first full length live recording from start to finish, and a lot of people ask us, “Why’d it take you so long?” But I don’t know! As you’re evolving through your career, and recording and touring and all that, I guess for me it doesn’t really cross your mind because you’re so busy and you’re so tied up at that moment doing what you’re doing. Whether it’s recording or touring that it never really crossed my mind. There are times when you release a new album, by giving it an extra [live] track or two which Japan loves…they love that type of thing, when you can add a bonus track or two. That’s always fun but I don’t know why it’s taken us so long to release something like that. Look at the Greatest Hits, [it] was released last year! A lot of people said, “Why’d it take you so long?” Well, why are you complaining? (laughs) Stop bitching about it, there you go, it’s right there! (laughs).
Q – Well here’s another release you can ponder. You guys did a video game, Promised Land a few years ago. There’s an exclusive track on that called “8 Miles High”. And it’s never been released anywhere else as far as I know on CD.
E – Have you heard it?
Q – Yeah. I couldn’t beat the game though, I had to, uhh…cheat.
E – Well I’ve got the cheat sheet for that thing.
Q – But it’s a great track and it would be nice to get it released, like you guys have collected a few B-sides and live things and remixes that you can release on a rarities album. Is that ever gonna be in the cards?
E – You know, anything is possible, but again, I don’t know if we’ve taken it that serious, to do something like that. Maybe perhaps the majority of the reason if, how satisfied are we with the results of that particular song? There was reason why it wasn’t added to the new album, or whichever album was released. Perhaps stylistically it didn’t coincide with what we were doing. Sonically, maybe it didn’t work. I dunno, that’s an interesting point, I mean, would we ever put something like that together? Anything’s possible. I think it would be fun. We have quite a few songs in the vaults. We’ve archived quite a bit of ideas, there’s even songs that we have from The Warning days. From Operation:Mindcrime days. Just a couple of songs that are floating around doing nothing. You never know, there’s actually been a couple of songs…let’s see, what was it. Which album was it? Promised Land I believe? There were two songs that we had used ideas from a song that was written back in…Rage For Order? Or Operation:Mindcrime? But we kinda took theintro or the middle piece of those songs and just kind of created a whole new song with it.
With the Geoff Tate “knife incident” having fans wondering what the hell is going on with the band, I thought I would bring us back to happier times. Back to 2001. Back to times before the knife incident and break up rumours. Times before Tribe. 11 years ago, I had the chance to speak to bassist Eddie Jackson for Global Bass Magazine. He gave me over an hour of his time.
Today I’m bringing you Part I of the complete unedited transcript. It’s long, but enjoy, there is so much great insight here! Eddie was a fantastic interview, and I hope all is well with him and the band.
This is so massive that I have to break it up into sections. So, here is Part I!
EDDIE JACKSON INTERVIEW, OCT 30 2001 (Unedited)
Q – Live Evolution is your first really definitive live album. Before you had Operation:LIVEcrime which was basically just one album’s worth of material. So this is a big deal, how much input did you personally have on the set list and the mix of the album?
E – The set list was pretty just a group effort there. Individually we all came up with certain songs that we thought we would like to perform that night. But you know, at the end of the day it was putting something that was gonna be something different from what we usually do, and that [something different] is go back several albums and perform some of these songs from The Warning, from Rage For Order, because a lot of the time these past few tours we’ve been focusing on from Operation:Mindcrime forward. With the exception of maybe “The Lady Wore Black” or “Take Hold Of The Flame” from the earlier albums. But this time around we just wanted to give them something…you know, you figure it’s a live album, a live DVD, let’s give ‘em something refreshing like some of the older stuff.
But with the mix…?
Q – Well you always hear horror stories about bass players in the mix. The legendary John Entwistle story of him turning up the bass sound on Live At Leeds, all these stories. Is that a struggle for you?
E – Not necessarily. The thing is, are you talking the mix in the front of the house, or on stage?
Q – On the actually released album.
E – Basically no different than the way we’ve been mixing our albums. You certainly want at least to be somewhat audible so you can at hear some of those lows, kinda compliment the rest of the mix. I’m not really a flashy type of a bass player, I kinda like ride with the groove, you know. And play along with the groove there, but as long as it’s somewhat audible enough, to where you can hear it. Granted, there’s gonna be some times where when you perform a song a little bit more up-tempo, you’re gonna lose some of that. That’s to be expected, that’s just the nature of the song and the instrument. As long you can hear everything, it’s really tough to isolate everything and make it sound studio-like, especially when it’s a live recording. Kelly [Gray, guitar]’s the one who actually mixed the live CD, and we thought he did a really good job with it.
Q – I agree. Obviously the first thing you notice when you buy the album is that you’ve got it organized into “suites” and it’s basically almost laid out chronologically. So that kind of presents interesting problems, you don’t have the traditional “Silent Lucidity” during the encore. So what made you guys decide to lay it out almost chronologically that night?
E – Well, again that’s where the Live Evolution title came from. We just figured, OK, we’re going to put together a set list and then we came up with the idea, hey, why don’t we put this together in suites? And kind of, starting from the beginning to the present. The first suite was the songs from the first couple of albums, the second suite from the next following set of albums, and so on. It was just an idea that we put together, and we thought it would be kinda fun to do. It definitely makes sense when you look and it and then when you hear it. Actually, it kinda came up, I can’t remember who brought up the idea, but spontaneously it just came about. We wanted, like I said before, Live Evolution, from the beginning to now. That was a given there, because we obviously had start with the songs from the past, from the first few albums and so on, but with the suites it just kinda made it more interesting.
Q – Where there any songs in the early stages that were eliminated, that you were sorry didn’t get on to the album?
E – There were a couple of songs that didn’t make the album. Let’s see, one of them was “Enforcer”, [sic, “En Force”] and “No Sanctuary”. And I can’t remember the other songs, there was just a handful, not many. The thing is, it’s really tough to sit down and try to perform everything that we have on paper. Because first of, we’re limited for time, and second of all, we’re limited on disc. There’s only so much time you can record, there’s only information that those things can record. I’m losing my train of thought here.
Q – (laughs) That’s OK, we can come back to it if you want.
E – Let’s actually go ahead and finish this. I was just thinking about something else about the show. Oh, about the songs. Yeah, it’s a long set, it was just trying to put together a good variety of songs that will not only please ourselves but also the fans. And again, if we were to play all the songs that we had written down on paper, heck, we’d be up there like 3 or 4 hours! So we had to kind of shave a few of the songs. I think selectively speaking we kinda chose songs that pretty much covered at least something from each album. That’s basically pretty much it.
Q – Were there any tunes that you knew, “I’m never playing this tune again, I never want to play this tune again!”
E – Well, not really. The funny thing was as we were writing these songs down on paper to choose from, and as we were learning these, it took me just a couple of days to remember these songs from The Warning! We hadn’t played some of these songs in 15 years, 16 years! And we’re just listening to them thinking, “God, what key is this in?” “Oh my God, that’s right I remember this part!” And then you start reminiscing about the times when you recorded ‘em. So it was more fun than we actually anticipated because you’re just sittin’ there listening to these songs, remembering the time when you recorded it, and the place where we recorded it, so it kinda brought back a lot of memories. It was a lot of fun! But again, I guess the fun part was relearning a lot of these songs.
Q – On the DVD you also say that playing the old songs brought back memories. Is relearning them the pleasure itself?
E – Absolutely. Yeah, because we’re proud of everything that we’ve done you know? And to go back and learn these songs that you haven’t played in 15, 16, 17 years, not only did it bring back memory but…it might sound kinda odd saying this, it’s refreshing even though they’re old songs. It was a refreshing approach if you know what I mean.
Q – It sounds like you rearranged some of the tunes slightly, like I think “Revolution Calling” has a new intro.
E – Yeah, well, we figured we did release LIVEcrime [a boxed set from 1991] as you know, a few years back. So some of those songs we’ve played them [in the past] verbatim to the original recording. We just figured, if we’re gonna play some of these songs, especially the songs that we normally play on tour, let’s kinda spice them up a bit, and we kinda did that with “Lady Wore Black”. We did that with “Revolution Calling”, just to name a couple. It’s nice to rework a couple of the songs so to make it sound a little different and interesting, but still obviously in context. You know, again, that’s another side of the joy of not only working on songs from the past, but also working on songs that are more current, than [to] rehash them.
Q – Now you mentioned Kelly mixing the album. He’s got quite a few production credits under his belt. You’ve got a producer in the band now. Is that a huge relief to you?
E – Yeah I think so! He’s a very talented individual you know? Like you said, he’s done producing work with a few bands, Candlebox, Dokken, Sven Gelis [sic] I think that’s the name of the band [Sven Gali from Toronto] just to name a couple of them you know. What’s the other one, Second Coming. He’s a very talented individual. Not only is he very talented when it comes to playing a producer role, but also as a musician, you know. He’s a good songwriter, a good guitar player. That guy, he wears many hats. It’s kinda a blessing in a way to work with someone like that because you’re killing two birds with one stone. Being a guitar player, a writer, but also coming in and helping us produce as well as mix. The last album, it was pretty much the band that had produced it. But he pretty much took the credit of engineering. I think it’s a major plus, when it comes to writing and then recording.
Q – Do you think you’ll ever go back to, say, Peter Collins or any other outside producer?
E – Perhaps. Doors are always open. You know, we’ll see! This last album, the Q2K release, was pretty much “ours” as a whole. With the exception of some of Kelly’s insight as a producer, the majority of that was pretty much the band’s production and ideas and whatnot. So, you never know. Working with Peter Collins, or Jimbo–James Barton, the doors are always open should we ever cross paths and if the idea ever comes up there’s always that possibility.
Q – One thing about Kelly is that he’s replacing someone who was in the band for a long time. On the live album I was really surprised by how seamless the new guitar parts are. It sounds like they should be there, it sounds like the old Queensryche. Now, making the transition, did you guys feel you had to shape him in any way to play like Chris [DeGarmo] used to?
E – Well, not really because Kelly has a little more of a bluesier background as opposed to Chris’ style. But I think you can tell, Q2K without Chris, stylistically it’s a little different than the songs Chris has worked on. He [Kelly] had some tough shoes to fill, but I don’t think it was that difficult for him to fit in. If you think about it, he’s playing pretty much Chris’ parts so it’s still gonna represent, especially speaking of the older songs, you’re still gonna hear the older style. You know, when he’s playing the songs that Chris had worked on. Yeah, but that’s almost inevitable. There are times when he would change maybe a solo here and a solo there so he’s not playing exactly what Chris wrote. I think he compliments Michael [Wilton, guitar] quite well stylistically and again he’s a very talented guy.
Q – As far as you being a bass player and getting a new guitar player in the band, did you have to make any adjustments? Did he come to you with harmonic ideas or anything like that?
E – I don’t know so much about that sort of an approach, but really, honestly, we just kinda let it happen. We really didn’t sit down and try to educate him into, “This is what Queensryche sounds like. This is what we want you to play like.” We just let him have free reign over it and not really…if you think about it, he’s not coming in to replace Chris. He’s coming in to replace a guitar player. By coming in to replace Chris, that can be a little tough on someone. Of course, you know, people are going to see that and they’re gonna question that. And obviously they’re gonna “A and B” the two guitar players stylistically or just as musicians in general. But that’s inevitable, that’s gonna happen. It happened on its own, we didn’t sit and dictate it, or educated him into sounding like someone that was no longer with us. We just let it happen, he let it happen, and we think he’s done a pretty good job so far.
Q – I just wanted to bring something up here that’s totally irrelevant. But I found a Bob Rivers Twisted Christmas album the other day, and Kelly Gray’s name is listed as a producer.
E – He has produced and mixed many of those.
Q – I just think you need to tease him a little about that (laughs).
E – Kelly, you’ve made it big! Someone just recognized your credits on a Twisted Radio CD! I’ll bring that up to him.
Maybe I’m reading too much into this. But why would the other four guys form a new band without Tate? While not unprecedented (see: Talk Show/Stone Temple Pilots) it’s certainly rare, and raises eyebrows.
DOUBLE UPDATE WITH GRAVY: The Queensryche camp are denying any trouble saying that the band are just staying busy with side projects. Sure. A side project with everybody except the singer? Playing all Queensryche tunes from the EP to Empire? Bullshit!
mikeladano.com 