How long has IronHorse been together?
We're about to celebrate the completion of our first year as a band. The songs, concept, and musicians all fell into place in March of 2000; I was in Italy working with our drummer Gaetano Nicolosi and we went into the studio to record the songs that would become the foundation for IronHorse. "In My Wildest Dreams", "The Show Must Go On", and "Redneck Rock N Roll". We were recording just for fun, for the hell of it, but when it was over I knew we had something. Gaetano just blew me away at that session, with the ability to have fun and improvise while laying down a monster groove. And the songs were a unique hybrid style, something that really combined all my influences into one new sound. A couple of nights later I woke up out of a dead sleep and said..."IronHorse. I'm gonna call it IronHorse. And I'm gonna call Geno and he's gonna play bass." Geno and I are best friends, and we played in a rockin' roadhouse band out west. We just belong in a band together, and his friendship, personality, and musical style were perfect for this thing. I had been getting e-mail's from this kid in Sweden named Robert Marcello. He had bought his first KEEL record when he was like seven years old, grew up listening to my stuff. He sent me some MP3s of his playing, and said if I ever needed a guitar player to let him know. Now, the last thing I ever thought I'd do is bring over another guitarist from Sweden that I hadn't even met. But sure enough, the next night I woke up out of a dead sleep (that's when I make most of my important decisions) and said "Robert Marcello. He's the guy." So I called Gaetano, Geno, and Robert and told them to meet me in Columbus Ohio June first and damned if everybody didn't show up. That was the day IronHorse was really born. So we stuck ourselves in a barn on a couple of acres of land just outside of Plain City Ohio and began to build what is now the best band I've ever been in. It's now eleven months later, on the eve of our debut CD release...and this is the best record of my career. I got the finished mixes last week and couldn't believe it, this is something I'm going to enjoy listening to for the rest of my life.
For someone who hasn't heard Iron Horse before. How would you describe the sound?
This is a really diverse mix of a lot of styles. People who appreciate a good song will like it because of the melodies, lyrics and hooks...Metalheads will like it because it is high energy music with screaming guitars, booming bass and thunderous drums...those who appreciate virtuoso musicianship will dig it because these guys play their asses off. I think fans of Southern Rock and Country will like it because those elements are definitely there. Like I said, there are many ingredients, but for the sake of a term we call it Cowboy Metal.
Tell us about your new album coming out?
The self-titled IronHorse CD is set for release in early May. There are eleven songs, because eleven is my lucky number...The production duties were handled by Michael Vescera. As a vocalist, Mike has worked with Yngwie, Loudness, Obsession, and more, and now he has a recording studio in Connecticut where we cut this disc. He did a hell of a job, this CD sounds absolutely amazing and I really enjoy working with a producer who is also a singer because he understands what it's like on the other side of the microphone and pushes me to do my best. Some of the songs are my own compositions, several are collaborations with Robert Marcello, and the guys in the band worked together to compose an epic instrumental called "Lets Ride". There's also a great song called "Run For The Border" written by Marc Ferrari and Tommy Thayer, and a cover of the Bad Co. classic "Shooting Star". A lot of rockers, a couple of twangers, two power ballads, and a partridge in a pear tree.
Is Iron Horse your only project at this time?
This isn't a project, this is a band. There's a big difference. This is a group of people that are a family, working together to follow a common dream. So the answer is yes, this is my only band, the object of my total focus and commitment. There will always be other activities which you can classify as projects: mixing and releasing the long-awaited Fair Game CD which came out recently, doing the occasional guest appearance, like reuniting with KEEL guitarist Marc Ferrari for the Aerosmith tribute CD on Perris Records. But IronHorse is my band and it always takes first priority.
I hear you will be recording a version of AC/DC's "Sin City" for an upcoming AC/DC tribute album. How did that come about? Are you an AC/DC fan?
When we first started rehearsing in my barn last summer, our good friend and neighbor Doug Tuller would cruise over on his tractor with a few beers and a bottle of whiskey to watch us practice. He'd get all drunk and say "Play some damn AC/DC!" So one day we launched into "Sin City" just to shut him up. Then for his birthday, we actually worked the song up and put it into the show...we were playing in our home town in Ohio, and instead of singing "Sin City" I said "Plain City" and the place went nuts. After I did the Aerosmith tribute CD for Perris, they asked if I would like to participate in the AC/DC tribute, and I said I'd do it only if it was with IronHorse and we could do "Sin City". Mike Vescera also produced this track, which was cut during the album sessions, and the song just smokes. I'm not sure of the release date on that one, but we are also participating on another tribute album being released July 27th - "Warmth In The Wilderness, A Tribute To Jason Becker." As many people know, Jason is one of the most incredible guitarists ever, and he was stricken in his prime by a nerve disease without cure. Now some of the best musicians in the field, guys like Paul Gilbert, Vinnie Moore, Kenny Aaronson, Jeff Pilson, and tons more, have joined together to pay tribute to Jason by recording a CD of his compositions from his days with David Lee Roth, Cacophony, and his solo works. The best thing is that proceeds from the sale of this CD go to Jason and his family. IronHorse was fortunate enough to be invited to participate, and the guys worked their asses off on a very difficult piece called "11 Blue Egyptians" - an amazing progressive-metal instrumental song. To learn more about the Jason Becker Tribute, check out http:www.lionmusic.com.
How was it in the Steeler days working with Ynqwie Malmsteen?
No matter how many times I'm asked that question, I'm always trying to find a new and interesting way to express the same old answer. One the bright side, those were some magical times to be playing and singing Metal Music in Los Angeles, but on the other hand Yngwie and I did not gel and soon went our separate ways. The album has endured, however, a fan favorite, a piece of Metal history, and the biggest selling independent release of all time.
How was it recording again with former Keel guitarist Mark Ferrari on the Aerosmith tribute CD?
It's always great to work with an old friend, and Marcs one of the oldest...Friends, I mean. Unfortunately he did his tracks in Los Angeles and I did mine in Columbus, so we didn't have the chance to hang out in the studio together like we did in '98 when we were working on the "Back In Action" sessions. But there's a rumor going round that Marc and perhaps Bryan Jay will join IronHorse on-stage at an upcoming show in Los Angeles to play a little KEEL music.
Why did Keel call it quits?
It was never the same after the classic lineup was gone. But we did some kick-ass shows with Scott Warren on keyboards after Marc left, and then with Tony Palmucci on guitar after Bryan left, and then in 1991 with an entirely new lineup with Greg Calkins on drums, John Gray on bass, and Tim Chisholm on guitar. Then Jenny, Dwain, Marc, Bryan and I got together again in '98 for "Back In Action" and that felt really good. And now the music lives again at every IronHorse show.
Gene Simmons produced "The Right To Rock" and "The Final Frontier" How did you meet up with him and how was it working with him?
The record company set it up. I didn't know if he was gonna produce us or not, but I just wanted to meet him and when we got together the force and energy was serious. He heard "The Right To Rock" that day on a boom box in his hotel room, with me singing live right there in his face, and he pushed the stop button and said "I'm going to produce this record. And we're going to start Tuesday." Working with Gene was great, those were some of the best times of my life. In the studio he was dead serious, focused, and extremely creative. Out of the studio he was a good friend, mentor, and New York party comrade. Who would you rather have show you around New York City in a limousine other than Gene Simmons?
What is your most memorable time with Keel?
There are so many; opening for Van Halen on a hot Texas afternoon in front of 86,000 people, playing Aerosmith's big homecoming/reunion show at Sullivan stadium near Boston, Madison Square Garden three sold out nights in a row, the sold-out headline tour of Japan. One that stick out in my mind was Paris, 1986...It was the third time I'd been to Paris, always getting rushed around from the airport to the hotel to the gig, and I had never seen the Eiffel Tower. And for a kid from the streets who never finished high school, Paris was a big deal, and it just didn't feel like Paris without seeing the Eiffel Tower. So we finished up a killer gig at the Zenith and we were in the bus heading out to the next show, when I looked out the window of the tour bus and saw it...The Eiffel Tower! I yelled at the driver to pull over, and we all got out and stood there at the foot of the Tower and I said Shit, man, we're really here! We're in Paris! Then all of a sudden the lights started going out on the Tower, starting at the top and working their way down, and we just stood there and watched ?em turn the lights out on the Eiffel Tower and felt like the kings of the world.
You have written many songs for film and television, are you giving certain subjects to write about or can you write pretty much what you want?
Most of the TV and film stuff has been recorded material licensed for use by various shows like X-Files, Touched By An Angel, and movies like Chill Factor and 1000 Acres. There were a few times when I was contacted and asked to write a certain piece in a certain key with a certain tempo with a certain lyrical content, but contriving formulated music has never been one of my specialties and I've never been any good at it.
Any plans on getting Keel together to record or tour?
I haven't even got the rest of my day planned. But like I said before, I wouldn't overlook the possibility of various KEEL members joining IronHorse on stage for a trip down memory lane.
Why did you put together an all girl band (except you) with Fair Game?
It's never been enough for me to make music, I always wanted to make history too. Fair Game was different, unique, exciting, and musically and visually one of the best projects of my entire career. The CD, available at http://www.metalmayhem.com contains some of the best songs and vocals of my life.
How much is the music business different today then say 15 years ago?
At it's basic bottom line level, it's not any different. It's still a bunch of suits trying to figure out what the people are gonna spend their hard-earned money on next, pissing away millions, making millions, some people becoming superstars and others becoming nothing at all and everybody in between.
How much do you think the Internet has affected music?
The Internet and personal computer have revolutionized everything in our lives and music is no different. It's of course brought everyone and everything closer; in the last year and a half, I've gotten in touch with so many friends and fans from throughout my life it's incredible. Everyone has so much access to so much information, I think it's great. I especially like my web sites, http://www.ironhorseband.com and http://ronniekeel.tripod.com.
Where do you see music and the Internet going in the future?
Man, I'm just a singer in a rock and roll band who writes songs and travels around singing ?em. I'm desperately trying to keep up with whatever technology I can use to help me further those goals. A year and a half ago, I was computer illiterate, and now I can hold my own with a laptop and a cell phone.
What bands do you currently listen to today?
Same ones as yesterday. In rock, I really like the new albums by Bon Jovi and Aerosmith, and if there's a jukebox where we're drinking we'll throw on some Def Leppard, AC/DC, or some Country music like Brooks & Dunn or Jo Dee Messina.
What bands would you like to see do a reunion show?
What bands aren't doing a reunion show? Besides KEEL?
Do you still keep in touch with any of the bands from back in the Keel days?
Jamie St. James from Black N Blue is still a very close friend. We did some shows together in Buffalo, New York, and Cleveland last year and had a blast. Kevin DuBrow and Quiet Riot had us out to their recent gig in Columbus and they were absolutely kick ass.
What are the future plans for Iron Horse?
In the near future, the CD will be out early in May and we're hitting the road. Upstate New York May 11 and 12, back to Cleveland May 13, Columbus May 25, Detroit June 9, Charleston June 23, then out west for a swing through Vegas, Phoenix, Tucson, and a couple of LA dates starting July 13, with smaller club dates in between. I want everybody to hear this thing and see us live. I want to continue having a great time with the guys and take this as far as we can take it. I figured it out, I have to sell eleven million CDs to break even on the rest of my career. So I hope everybody REALLY likes IronHorse.
Do you maintain the Keel and Iron Horse web sites?
Yes. The sites are simple, no flash or shockwave or anything like that, but they're extremely easy to navigate and full of information, photos, links, the latest news and a current itinerary of shows.
Is there anything you would like to add?
Thanks to all the friends and fans, old ones and new ones, that have given this Horse the strength and power to climb this mountain again. Let's Ride.
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