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John's Page
'Old enough to know what's right but young enough not to choose it.
Wise enough to win the world, but fool enough to lose it'
Weh Hey...... This is where I get my say.
How did you first get into RUSH?
Well, many years ago there were three guys.......from Canada......they'd just released a double live album - All the World's a Stage.
I remember thinking at the time, that for a live album, it was brilliant - and some live albums of the time were quite ropey. Some of the better live albums were so heavily overdubbed in the studio that it was probably only the crowd that ended up 'live' on the album. I must admit that I thought this was the case with the Rush double album. So, the opportunity to see this band could not be missed - even if there were a few extra guys on stage to help fill out the sound, and on June 11th, 1977 I trotted along to the Newcastle City Hall.
RUSH came on stage - and guess what - there were only three of them, they then proceeded to amaze all of us in the audience with a dazzling display of virtuosity that we had never before witnessed. After numerous encores - actually repeating some of the songs they'd played earlier - the house lights came on but none of us would leave! The promoter (or someone) came on stage with the band and, over the roars of approval, told us 'Rush have never had a reception like this before, they will definitely be back'. True to their word they were back for two nights a few months later on February 14th and 15th 1978 and so was I.
I never missed an opportunity to see Rush play live until I travelled to Stafford New Bingley Hall - where the audience was promised the FULL RUSH SHOW (interviews in the press said they had been unable to bring their full light show with back projection etc. because of the small size of the UK venues) this was going to be a real treat.
Arriving at New Bingley Hall on the 21st September 1979, I was struck by its size - it was VAST. Wild Horses were disappointing (but anyone who knows a bit more of the John Roach Story will know why he said that! They bumped his band MYTHRA off a prestigious tour supporting Ted Nugent. Check this link out .......at the bottom of the page and all is revealed in its dissapointing glory).
Then RUSH took to the stage and played the usual brilliant set. I must admit I was disappointed by the FULL RUSH SHOW. It seemed only slightly different to the one we'd all seen previously, except for some back projections during The Trees and a fairly dodgy cartoon of a space ship entering a black hole during Cygnus XI / Hemispheres. At 19 years old I think I was getting too old and my cynicism spoiled the event for me, plus I missed my last train home, so I had to sleep in the railway station........happy days. In one of those interesting turns of fate Lindsay spent the same night in the same railway station after the gig - although we didn't meet for another twenty three years.
How did you get involved in ANTHEM?
As I grew older I kept coming across fellow RUSH fans in the most unlikely places, at work for example, my boss and colleagues were RUSH fans .... Ah, the points we tried to score by quoting the dates of our first encounters with the brilliant three. One of the guys I worked with, Mick, was a drummer and Peart devotee, he was thumping his tubs with an old mate from school on guitar - who turned out to be Lindsay. It sounded like fun so I asked if I could come along and play some bass (bass is not my first instrument, I've played guitar since God was a lad - but Geddy is no slouch on the fret board and I thought it would help to round out my playing. I was recording as a solo artist and, like most guitarists, was struggling to apply meaningful bass-lines to my compositions).
As we developed our repertoire we needed a little something extra in the sound department so I bought some keyboards and bass pedals along. We were really enjoying getting to grips with the classic older songs and we started talking about vocals.... I must admit I felt the pressure. I felt it was obvious, in the true division of RUSH labour, it had to me. Now, anyone who has ever heard me sing has only heard it once - once is enough. Even the actor Lee Marvin (of 'I Was Born Under A Wandering Star' fame) has a better voice than me. (Actually, my voice is not bad, but my lack of confidence in it is chronic). So, we advertised for a singer. Glenn Howes was our first singer, a great rock vocalist, guitarist and NWOBHM stalwart, then came Tom Alexander. In rehearsals the vocals were fine, but live, Tom was never happy or comfortable as our front man. We tried a few other vocalists and we were greeted with huge bravado, for example 'I used to sing AC/DC songs so this should be easy' was the talk from one prospective vocalist - it turned out he couldn't even pronounce some of the lyrics let alone sing them!
What did John do before ANTHEM?
Going back a bit, the full 'John Story' is a heart-rending tale of rejection and failure. Loved by his parents and siblings, he rejected the comforts of his upbringing to train in the spartan life of a musician. Playing gigs from the age of fourteen he developed an unnatural cynicism which alienated everyone - not a good move when the music business is based on popularity.
A handsome young man, his multiple piercings hidden by long spiky hair, he took to wearing an old army greatcoat (which stank like a weasel but which could get 6 bottles of Newcastle Brown Ale in its pockets). During one of his many pilgrimages to the 'Rock of the North' (Mayfair, Newcastle - Friday night) he entered into a Faustian pact, but owing to severe earache, bought about by practising By-Tor and the Snow Dog in the freezer for added authenticity, he miss-heard the offer and sold his soap to the Devil.
As lead guitarist and songwriter with seminal NWOBHM bands, Mythra and Fist, his fledgeling musical career was off to a good start but after several albums and having all of his gear nicked he finally gave up this musical path. Unknown to John his songwriting and guitar work with Mythra would inspire a certain Mr. Lars Ulrich (Yes! THE Lars Ulrich) who was gracious enough to acknowledge the fact in several Metallica interviews. Anyway, back to the tale.....
Redeemed by the love of a good woman, he returned to the path of righteousness and got a 'proper' job. This eventually led, via many detours including 6 years studying karate during which he obtained Nidan (or 2nd Dan) in the Wado-Ryu style followed by a further 6 years as a karate instructor before arriving close to the present day.For more information about Mr Roach, to laugh at what he looked like in the '70s when he was a teenage sprog trying to make his fortune in the music biz and to read the many and varied press clippings (including the Lars Ulrich's interviews) please click here.
JOHN'S TECHNICAL BIT
After gigs I get asked the most interesting questions - usually about the gear (as it's not a standard rig) and the sounds I use. Well, for the benefit of those who are interested, lets get behind the smoke and mirrors.
Question: Why did you switch to bass?
You should hear Lindsay! He has the Alex sound down - non better! I've seen the others and they aren't even close. It's a shame that with a few processors and a good set of ears Lindsay has made a fool of other guys with racks the size of a large 'fridge. The secret is the ears......but you need to be able to listen. Playing bass has definately improved my musical knowledge and songwriting ability, there are more than enough twiddly bits in the RUSH bass lines to keep me on my toes and instead of boning up on sweep-picking, string skipping, tapping and three-notes-per-string runs up and down the neck (yawn....I'm falling asleep already), I work on SONGS. Now there's a novel approach!
Question: Do you use backing tracks (or sequencers) live?
John: No, all of the keyboards and other sounds are generated 'on the fly' while we are playing. I use a Roland PK5 which is a midi foot controller. This has a thirteen note keyboard layout which allows me to play some of the keyboard parts with my feet while I'm playing bass. The other keyboard parts are played live using a Korg X5D, which I use as a midi controller. The karate training certainly comes in handy for the co-ordination required to jump from bass and bass pedals to keyboards and back again without missing a beat (or a note).
Question: I noticed that the beginning of 2112 and Cygnus X1 are exactly the same as the RUSH records, are these segments backing tracks?
John: No, well - OK, they're samples which I trigger from the PK5 - we use them to set the mood for the song as we feel they are an integral part of each song. Even Rush do this - but we don't go so far as to sample whole passages to play behind the band as I feel this would take us into the realms of Karaoke. Whilst I appreciate that RUSH use this approach, I feel that we have not earned the same level of respect from audiences and a great part of the enjoyment of watching RUSH as a youngster for me was a bit like watching a tightrope walker - you are impressed by the skill but a small part of you is waiting for the inevitable fall. I haven't fallen yet but I've lost my balance a few times.
Question: The keyboard sounds you use are very close to the originals how do you get the sounds so close?
John: That's easy, but they're really only slightly close to the original sounds, they are not as detailed or involved as those on the Rush albums. I use an EMU sampler and a small arsenal of sample CDROMs of classic synthesisers such as Oberheims and Moogs which were used by Rush during their early keyboard explorations. The hardest part is choosing the right samples and tweaking them to get the attack and behaviour just right, but once its done, you save, and you don't have have to do it again. The samples are mapped, or laid out, so that the midi controllers play them as single notes so I have complete performance control (and responsibility if it all goes wrong).
Question: Have you considered using a Ric or Fender Jazz for a more authentic look?
John: No, I don't like Rickenbackers as I feel they have only one sound - even Geddy used his Jazz in the studio and the Rics for touring. As for the Jazz - I have no opinions either way. As a musician I think you should find an instrument that works for you and use it. I don't go in for the mass produced signature instruments. Even as a guitarist I used 'different' instruments - mainly Heartfields (the one exception being my lovely Gibson Les Paul Standard). As far as authentic looks go - none of us look like the members of RUSH - a good thing as we're a good deal younger - and tribute bands that go down that route have always seemed a little bit strange if you ask me - I'm sure I speak for us all when I say we're happy being who we are! There will be no Kimonos, false 'tashes, daft hats, fake noses, wigs or cushions up the shirt for ANTHEM! Although I hope I don't get struck down for saying that.
July 2005 update:
'Crunch, crunch, crunch' That's me eating my words, I've just bought a Fender Jazz bass and it's lush. Guess what, it's also a Geddy Lee Signature model. It just goes to show that you should keep an open mind. It was a bit strange to play at first, it is my only guitar with a maple fingerboard and it gets geet slippery when it's wet (ooh err), anyway now that it's been out a few times and stinks of sweat, tabs and beer it's starting to feel more like my bass and less like Geddy's. I only hope it keeps some of the Geddy 'mojo' as it gets properly played in...but I still won't be wearing a prosthetic nose.
I've found that to get the authentic 'Geddy Jazz Growl', as I call it, you have to play quite hard with roundwound strings and, unusually for bass players, a fair bit of middle. As a result of playing so aggressively (that karate training again) I've found that I occassionally break the odd string. So far this has only ever happened during gigs and not during rehearsals (worst luck) so it must be the excitement. When it does happen it really tests my knowledege of the fretboard. As you probably know, Geddy's bass lines are a bit busy but the performances have not been disrupted and it was the perfect excuse required to justify buying another Geddy Lee Signature Jazz ...... so now I've got two!
Question: How does the band approach learning new songs?
John: It depends on the song, some of them come very easily and quickly for example Closer to the Heart and Passage to Bangkok spring to mind, a few run-throughs and they were complete. Others need careful negotiation, its no secret that I prefer the older pre '84 material and Mick and Lindsay have made a superb effort to drag me up to date (I'm up to '87 now). My main issue with some of the newer material is that it would be impossible for me to play the keyboard parts without a sequencer and I would prefer to keep it real, if I can't play it live then I don't want to play it at all. The big surprise for all of us was Hemispheres - we all love that song and when we first parted company with Tom we decided to give it a go, it came together really quickly and is possibly one of our best songs. Another significant point is that we NEVER rehearse sections of songs - we only ever rehearse the complete song, we've seen some tribute bands where sections of songs like Xanadu or La Villa or YYZ sound as if they've been 'stitched' together like a cheap quilt and they don't flow - we want to avoid that at all costs.
Question: Do you use plectrums or fingers?
John: As a guitarist - I use plectrums, Dunlop Tortex 1.14mm, good and stiff. As bass player in Anthem, I use my fingers - the plectrums of the Lord. When I'm writing or in the studio I use both plectrums and fingers depending on what type of attack is required - so I let the song decide. For keyboards I use very heavy Jim Dunlop 8mm plecs and for eating I use a knife and fork - OK, OK - I use a spoon AND my fingers.
Question: The PA you used in your earlier shows was quite big for the size of the venues, how big?
John: It's 8k. That's 8000 watts. It has been commented on in the past that our live sound is 'superb - but it should be with an 8k rig'. I tend to think of the old computer adage 'garbage in - garbage out' - it sounds superb because of the effort we all put into our craft. The PA is for the audiences benefit, it just makes it louder and easier to control. I've been to too many gigs as a punter where the band were obviously talented but struggled to keep the audience entertained because the PA they were using was rubbish. The main benefit of using an 8k rig is that we have tons of headroom so the lower frequencies - predominantly keyboards, bass and drums come across really well.
On the subject of PA we are always the sound guys friends as they have a huge contribution in how we come across to an audience. In the early days all of us would DI (direct inject) into the PA. Mick from his foldback mixer, myself from either the pre-amp DI out or the stage amp DI out and Lindsay through speaker emulators after the Marshall power-amp stage of his set-up. Without the on-stage mics on the drums and back-line the sound guys could concentrate on the front of house sound instead of chasing down feedback - so the audience got the benefit. These days we size the rig to the gig, pubs and smaller clubs get 4 to 5k and the sky's the limit for theatre and halls. The major change recently has been Mick's switch back to an acoustic kit. This requires an arsenal of mics and the associated gating and technical problems. However, the sound is truly awesome. Well worth it.
Question: I see you've added a twin neck bass and six string to your collection will we get to see it live?
John: Absolutely, although it felt heavy to begin with, I'm getting used to the weight now. The bass is passive and I used to prefer active basses until I got my hands on the Jazz bass. It has a very strong and punchy sound which I like - the guitar is a bit low when I have the bass at the correct height but I'm getting used to that as well - it's sort of a cross between George Formby and the Ramones. I'll use it for Xanadu and probably Farewell to Kings and anything else I can get away with because it looks so bloody cool.
Question: What's the most difficult part about being in Anthem?
John: It's got to be getting the show just right, you see a lot of bands play songs and when you go to see them - that's just what it sounds like, a collection of songs in no particular order. We put a lot of effort into trying to make a SHOW that people will remember, this includes the performance and the song running order as well as the individual songs. Obviously most people at our gigs have their favourite songs and we try to play them but with over 30 years of material to choose from we're bound to disappoint someone. We also strive to keep improving, if we're not getting better, we're getting worse. Staying the same is not an option.
Question: I notice from your other gear page you have a Heartfield Elan II. Would you be interested in selling it?
No, I get asked this question quite a lot, it has significant sentimental value to me. It is a beautiful guitar, Vintage Amber Sunburst with a beautiful flamed maple top, which I used to record the long awaited second Mythra album 'The Darkener' in 2001.
Question: What sort of trainers do you wear?
John: For bass its got to be New Balance - they have awesome bottom end.
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